Posts Tagged ‘Hunter Hayes’

Single Review: Hunter Hayes, “Invisible”

Sunday, February 2nd, 2014

Hunter Hayes InvisibleHunter Hayes scored a killer Grammy performance slot to debut this song, which has all of the necessary components to become a career record.

Showing solidarity with the outcasts in high school halls is as timely as ever, and his youth helps him be the ideal vessel for the heartwarming message.   There are moments which come perilously close to the maudlin, with shades of Billy Gilman’s “One Voice” or the Mark Wills hit, “Don’t Laugh at Me.”    Thankfully, he’s sounding a lot more like a young Keith Urban than a young Bryan White, and the song is just vague enough that it can become a personal anthem for pretty much anyone who feels unnoticed or noticed in all the wrong ways.

This is going to be a big hit, I’m sure, and probably score some songwriting nominations along the way.  Now is as good a time as any to listen to it with fresh ears and appreciate its understatement.   Where he could have laid on thick, he chose not to.  That’s always been a rare choice to make when dealing with material this heavy, so that alone is reason to be grateful.

Written by Bonnie Baker, Katrina Elam, and Hunter Hayes

Grade: B+

 

2014 Grammy Awards: Staff Picks & Predictions

Thursday, January 23rd, 2014

The Country Universe staff has picked and predicted the 2014 Grammy Awards below, strange bunch that they are. Chime in with your thoughts, and catch the show on Sunday at 7 p.m. CST.

daftpunk-randomaccess-vinyl_grande-1.jpg?v=1368726630Album of the Year

Should Win:

  • Sara Bareilles, The Blessed Unrest
  • Daft Punk, Random Access Memories  - Kevin
  • Kendrick Lamar, good kid m.A.A.d. cityJonathan
  • Macklemore & Ryan Lewis, The Heist
  • Taylor Swift, Red

Will Win:

  • Sara Bareilles, The Blessed Unrest
  • Daft Punk, Random Access Memories  - Kevin, Jonathan
  • Kendrick Lamar, good kid m.A.A.d. city
  • Macklemore & Ryan Lewis, The Heist
  • Taylor Swift, Red

Kevin: With electronic music so mainstream now, it would be wise and timely for NARAS to acknowledge the excellent comeback of one of its pioneers, especially as the year’s best country albums (Brandy Clark, Kacey Musgraves, Ashley Monroe, etc.) and the year’s best rap album (Kanye West) didn’t score nominations in the top category.

Jonathan: Lamar and Daft Punk would both be worthy winners of an award that rarely seems to go to one. Hip-hop and R&B have notoriously struggled in the general field in recent years, so Daft Punk’s cachet with the rock contingent should give them the edge over Swift, who didn’t score the across-the-board support many were expecting from her this year. If the voters are feeling especially timid, though, watch out for “Brave” yelper Bareilles as a spoiler.

Bruno-Mars-LockedOutOfHeavenRecord of the Year

Should Win:

  • “Blurred Lines” – Robin Thicke featuring T.I. and Pharrell Williams
  • “Get Lucky” – Daft Punk featuring Pharrell Williams – Kevin, Jonathan, Tara
  • “Locked Out of Heaven” – Bruno Mars
  • “Radioactive” – Imagine Dragons
  • “Royals” – Lorde – Dan

Will Win:

  • “Blurred Lines” – Robin Thicke featuring T.I. and Pharrell Williams – Tara
  • “Get Lucky” – Daft Punk featuring Pharrell Williams
  • “Locked Out of Heaven” – Bruno Mars – Kevin, Jonathan, Ben
  • “Radioactive” – Imagine Dragons
  • “Royals” – Lorde - Dan

Kevin:  “Get Lucky” was retro and modern at the same time, featuring the charismatic Williams.  That guy makes everything better.  I’m guessing Mars will get it because he’s the most established and arguably is overdue for a big win.

Dan: “Royals” was the most refreshing to me. Winner feels like a real toss-up, though.

Jonathan: Prevailing logic as to why hip-hop tracks have fared so poorly in this category is that NARAS voters are still hell-bent on rewarding live instrumentation, so it’s hard to imagine something as spare as “Royals” winning, even if it’s the most distinctive choice. “Get Lucky” would get my vote, but look for Bruno Mars to head off to his Super Bowl Halftime gig with some new hardware in hand to reward his Police homage.

Tara: Lots of atmospheric tunes here. “Get Lucky” seems like the one that will feel no less groovy in ten years time. I wouldn’t put any money on it, but I could see the voters ignoring controversy and rewarding the biggest hit of the year.

macklemore-samelove-1Song of the Year

Should Win:

  • “Just Give Me a Reason”  – Jeff Bhasker, P!nk, and Nate Reuss – Kevin, Ben
  • “Locked out of Heaven” – Phillip Lawrence, Ari Levine, and Bruno Mars
  • “Roar” – Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry, and Henry Walter
  • “Royals” – Joel Little and Lorde – Jonathan
  • “Same Love” – Ben Haggerty, Mary Lambert, Ryan Lewis, and Curtis Mayfield – Dan, Tara

Will Win:

  • “Just Give Me a Reason”  – Jeff Bhasker, P!nk, and Nate Reuss - Kevin, Ben, Dan
  • “Locked out of Heaven” – Phillip Lawrence, Ari Levine, and Bruno Mars
  • “Roar” – Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry, and Henry Walter
  • “Royals” – Joel Little and Lorde 
  • “Same Love” – Ben Haggerty, Mary Lambert, Ryan Lewis, and Curtis Mayfield - Jonathan, Tara

Kevin: P!nk is long overdue for a top tier award, and her co-write with previous winner Nate Reuss was, in my opinion, the best duet in a year chock full of ‘em.

Dan: The Macklemore & Ryan Lewis composition is somehow the most personal of the group even as it makes the biggest, broadest statement. And the climactic third verse still gives me chills.

Jonathan: I don’t care that Kacey Musgraves is a fan of hers: Perry’s nomination is indefensible, with four adults credited on a song that rhymes “zero” with “hero” and that allows pop music’s least-capable vocalist to scream a series of self-help cliches. The broad, even-in-the-flyover-states popularity of “Same Love,” though, gives the voters a safe opportunity to make a political statement and to recognize one of the year’s breakthrough acts.

Tara: It’s a toss-up between “Royals” and “Same Love” for me in terms of substance and purposeful songwriting, but I can’t ignore the chills I also get listening to the latter. I agree with Jonathan that this is a win-win way for the voters to make a statement.

Kacey+Musgraves+KACEY++PNGBest New Artist

Should Win:

  • James Blake
  • Kendrick Lamar – Jonathan
  • Macklemore & Ryan Lewis – Dan
  • Kacey Musgraves – Kevin, Ben, Tara
  • Ed Sheeran

Will Win:

  • James Blake
  • Kendrick Lamar 
  • Macklemore & Ryan Lewis - Dan, Kevin, Tara
  • Kacey Musgraves - Jonathan, Ben
  • Ed Sheeran

Kevin: Gotta root for the home team.  I think Macklemore & Lewis  will win, though.

Dan: For once, this category is hot across the board; you could make a great argument for any of these folks. Personally, I find Macklemore & Ryan Lewis to be the most exciting.

Ben:  I don’t always gravitate toward the country-affiliated New Artist nominee, but then again it’s rare for me to be so invested in a country newcomer’s artistry as I am with Musgraves. To see her win would make my heart happy.

Jonathan: Lamar is making the most compelling music of this lot, but this category’s history dictates that it’s Musgraves’ award to lose. Macklemore & Ryan Lewis pose a real threat, but being the only woman nominated plays in Musgraves’ favor.

Tara: It’s hard to tell if Musgraves’ profile outside of the country sphere is big enough to nab her this one, but I’d be happy if it did. I hope she keeps the face in check if it doesn’t, though.

REdBest Country Album

Should Win:

  • Jason Aldean, Night Train
  • Tim McGraw, Two Lanes of Freedom
  • Kacey Musgraves, Same Trailer Different ParkDan, Kevin, Ben, Jonathan, Sam, Tara
  • Blake Shelton, Based on a True Story
  • Taylor Swift, Red

Will Win:

  • Jason Aldean, Night Train
  • Tim McGraw, Two Lanes of Freedom
  • Kacey Musgraves, Same Trailer Different Park
  • Blake Shelton, Based on a True Story – Sam
  • Taylor Swift, Red - Kevin, Ben, Jonathan, Tara

Kevin:  Don’t see how Taylor doesn’t win, though Musgraves made the best album by a decent margin, regardless of how country any of ‘em are.

Dan: Here’s the most logical place to reward Musgraves, though I guess Red’s nomination in the general Album of the Year field makes it the frontrunner in this category. And that’s fine; whatever. I’ve been hoping for Swift’s albums to be grouped under “Pop” at the Grammys since Fearless. It ain’t gonna happen.

Ben:  Should Win – easy choice. Will Win – also an easy choice.

Sam: Just to be contrary, I think Shelton’s built up enough recognition with his “The Voice” gig that he has name recognition from voters who know next to nothing about country music. The fact that it was a terrible, terrible album doesn’t really matter.

Jonathan: No, Red shouldn’t be nominated in the Country field, so I wouldn’t vote for it on principle, even though its best tracks are far and away the strongest material in this line-up. NARAS has no qualms about rewarding pop crossover albums here, so it would be a huge upset were Swift to lose. When we were all prepping our ballots for our year-end countdowns, I had Musgraves’ album at #38. It’s good and I certainly understand why it has as many fans as it does, but I’m just not as bullish on it as others seem to be. Still, it would be my personal choice from this paltry line-up, since Aldean’s, McGraw’s, and Shelton’s albums ranged from pedestrian to downright unlistenable.

Tara: Seems like an easy Swift win, but I get where Sam’s head is at re: Shelton. There’s no question Musgraves made the best music, though, and what a shame she’s not surrounded by her peers who made even better music.

Miranda-Lambert-Mamas-Broken-Heart-2013Best Country Solo Performance

Should Win:

  • Lee Brice, “I Drive Your Truck”
  • Hunter Hayes, “I Want Crazy”
  • Miranda Lambert, “Mama’s Broken Heart” – Dan, Kevin, Ben, Jonathan, Sam, Tara
  • Darius Rucker, “Wagon Wheel”
  • Blake Shelton, “Mine Would Be You”

Will Win:

  • Lee Brice, “I Drive Your Truck”
  • Hunter Hayes, “I Want Crazy”
  • Miranda Lambert, “Mama’s Broken Heart” - Dan, Kevin, Ben, Jonathan, Sam, Tara
  • Darius Rucker, “Wagon Wheel”
  • Blake Shelton, “Mine Would Be You”

Kevin:  Lambert is the only female and the only previous winner.  I’d be shocked if she lost.

Ben:  To me, Lambert’s performance alone claims the distinction of making an already-great song even better.

Sam: This could be one of those rare occasions where the best nominee actually wins a Grammy. I think Hunter Hayes is a long shot, as most Grammy voters are not teenaged girls.

Jonathan: What Kevin said. Also, he’s a talented instrumentalist, but the Grammy voters’ fascination with Hunter Hayes is baffling.

Tara: Lambert’s is the most distinct and impactful performance here, but I’ll throw in my defense of Hayes’ “I Want Crazy,” a song and vocal that’s as breathlessly exuberant as Keith Urban’s best work.

5448-thumbBest Country Duo/Group Performance

Should Win:

  • The Civil Wars, “From This Valley”
  • Kelly Clarkson featuring Vince Gill, “Don’t Rush”
  • Little Big Town, “Your Side of the Bed” – Jonathan
  • Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
  • Kenny Rogers and Dolly Parton, “You Can’t Make Old Friends” – Kevin, Ben, Tara

Will Win:

  • The Civil Wars, “From This Valley”
  • Kelly Clarkson featuring Vince Gill, “Don’t Rush”
  • Little Big Town, “Your Side of the Bed” 
  • Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care” - Kevin, Ben, Tara
  • Kenny Rogers and Dolly Parton, “You Can’t Make Old Friends” - Jonathan, Sam

Kevin: The high octane collaboration of McGraw/Swift/Urban has been unstoppable thus far.  Kudos to NARAS for noticing Rogers & Parton’s beautiful work, their best together since “Islands in the Stream.”

Ben: “You Can’t Make Old Friends” is enough to give many a longtime country music lover warm fuzzies, but the commercial clout of “Highway Don’t Care” may be too much to beat.

Sam: If you’re a Grammy voter and have to decide on a zillion categories, do you take the time to sit and listen to each nominee, or do you skim over the names and pick the ones you’re most familiar with? Kenny and Dolly for the win.

Jonathan: One of the strongest sets of nominees anywhere on the Grammy ballot this year. Little Big Town would get my vote so that they have a win for something besides “Pontoon” to their credit, but I think NARAS’ older voters will be swayed by the effortless charm of the Rogers and Parton duet.

Tara: I don’t love any of these except for the Rogers and Parton collaboration, as much as I wanted to embrace “Don’t Rush” (Kelly Clarkson! Vince Gill!). I think the middle-of-the-road McGraw / Swift / Urban song will win out, but here’s to hoping the voters act on warm fuzzies.

Merry_go_'roundBest Country Song

Should Win:

  • “Begin Again” – Taylor Swift
  • “I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
  • “Mama’s Broken Heart” – Brandy Clark, Shane McAnally, and Kacey Musgraves – Kevin, Jonathan, Sam, Tara
  • “Merry Go ‘Round” – Shane McAnally, Kacey Musgraves, and Josh Osborne - Ben
  • “Mine Would Be You” – Jessi Alexander, Connie Harrington and Deric Ruttan

Will Win:

  • “Begin Again” – Taylor Swift – Jonathan, Sam
  • “I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
  • “Mama’s Broken Heart” – Brandy Clark, Shane McAnally, and Kacey Musgraves - Kevin, Tara
  • “Merry Go ‘Round” – Shane McAnally, Kacey Musgraves, and Josh Osborne - Ben
  • “Mine Would Be You” – Jessi Alexander, Connie Harrington and Deric Ruttan

Kevin:  Gotta root for the Brandy Clark co-write, which is conveniently the best composition anyway.  Still, I think  voters will use this category to acknowledge Musgraves for writing her own hit instead of Miranda’s.

Ben:  I seem to be in the minority here, but I actually consider “Merry Go ‘Round” to be the finer of the two Musgraves co-writes – which is not to say that I don’t adore “Mama’s Broken Heart” or that I wouldn’t be thrilled to see Brandy Clark also gain a mantle decoration. This would seem a comfortable place for voters to acknowledge Musgraves – as well as a likely consolation prize should she lose Best New Artist – and like Kevin, I expect it will be for the hit she performed as well as wrote.

Sam: I’d just like to point out that this is an incredibly strong group of nominees and shows there is some substance to country music once you weed out all the tailgate songs.

Jonathan: Things could play out here in a similar fashion to the CMAs, with vote-splitting among the multiple nominations for Musgraves, McAnally, Alexander, and Harrington. That worked to the latter pair’s advantage at the CMAs, where “I Drive Your Truck” pulled off a surprise win, but Shelton’s powerballad could siphon votes from Brice’s hit this time. As much as I love the idea of Brandy Clark as a Grammy winner, I think the various vote-splits will allow one of Swift’s best-written songs to win.

Tara: As strong as Lambert’s spitfire performance is, I’d argue that the bones of “Mama’s Broken Heart” are even stronger. I’ve never been able to connect with “Merry Go Round” the way others have, but agree this is likely where the voters will single Musgraves out.

Build+Me+Up+From+Bones+Sarah+JaroszBest American Roots Song

Should Win:

  • “Build Me Up From Bones” – Sarah Jarosz – Jonathan
  • “Invisible” – Steve Earle
  • “Keep Your Dirty Lights On” – Tim O’Brien and Darrell Scott – Kevin
  • “Love Has Come From You” – Edie Brickell and Steve Martin
  • “Shrimp Po-Boy, Dressed” – Allen Touissant

Will Win:

  • “Build Me Up From Bones” – Sarah Jarosz 
  • “Invisible” – Steve Earle
  • “Keep Your Dirty Lights On” – Tim O’Brien and Darrell Scott
  • “Love Has Come From You” – Edie Brickell and Steve Martin- Kevin, Jonathan
  • “Shrimp Po-Boy, Dressed” – Allen Touissant

Kevin:  Can voters resist Steve Martin? If they do, I hope it’s to acknowledge again the unique talents of Tim O’Brien and Darrell Scott.  They are so good together.

Jonathan: Jarosz draws favorable comparisons to Alison Krauss, and, if ever there were a surefire way to appeal to Grammy voters, that would be it. She’d get my vote for the exceptional title track from her third album, though, like Kevin, I’m a big fan of O’Brien’s and Scott’s work together. Martin’s charm and name recognition are likely to give his duet with erstwhile New Bohemian Brickell the edge here.

harris-crowell-old-yellow-moonBest Americana Album

Should Win:

  • Emmylou Harris and Rodney Crowell, Old Yellow MoonKevin, Jonathan, Sam
  • Steve Martin and Edie Brickell, Love Has Come For You
  • Buddy Miller and Jim Lauderdale, Buddy and Jim
  • Mavis Staples, One True Vine
  • Allen Touissant, Songbook

Will Win:

  • Emmylou Harris and Rodney Crowell, Old Yellow Moon - Kevin, Ben
  • Steve Martin and Edie Brickell, Love Has Come For You - Jonathan
  • Buddy Miller and Jim Lauderdale, Buddy and Jim
  • Mavis Staples, One True Vine
  • Allen Touissant, Songbook - Sam

Kevin:  Martin & Brickell might be the most logical choice, but in a category stacked with veterans, Harris & Crowell must be tempting to voters who are long time fans of both.

Sam: The fact that Jason Isbell wasn’t nominated here shows that Americana music has a long way to go before Grammy voters stop using it at the place where all veteran singer/songwriters end up. As for this year, Allen Touissant is older and has past Grammy love, so my money is on him.

Jonathan: The strongest, most vital year for Americana music in a decade is rewarded with a staid slate of nominees. Old Yellow Moon is the obvious standout and could very well win, but I think Martin’s well-received album with Brickell has the edge based on Martin’s celebrity.

0011661914124Best Bluegrass Album

Should Win:

  • The Boxcars, It’s Just a Road
  • Dailey & Vincent, Brothers of the HighwayJonathan
  • Della Mae, This World Oft Can Be
  • James King, Three Chords and the Truth
  • Del McCoury Band, The Streets of Baltimore

Will Win:

  • The Boxcars, It’s Just a Road
  • Dailey & Vincent, Brothers of the Highway
  • Della Mae, This World Oft Can Be
  • James King, Three Chords and the Truth
  • Del McCoury Band, The Streets of Baltimore - Kevin, Jonathan, Ben

Kevin: Haven’t heard these albums enough to have a personal favorite, but I think the Del McCoury Band’s name recognition will power it to a win.

Jonathan: Both the Del McCoury Band and Dailey & Vincent are nominated for some of their very best work, and either would be a richly deserving winner. Della Mae have a fairly vocal fanbase, but it isn’t clear if that fanbase overlaps with the Grammy voter bloc enough to unseat one of the two bigger-name acts.

GuyClarkMFPOYCoverSenorMcGuireBest Folk Album

Should Win:

  • Guy Clark, My Favorite Picture of YouKevin, Ben
  • The Greencards, Sweetheart of the Sun
  • Sarah Jarosz, Build Me Up From BonesJonathan
  • The Milk Carton Kids, The Ash & Clay
  • Various Artists, They all Played for Us: Arhoolie Records 50th Anniversary Celebration

Will Win:

  • Guy Clark, My Favorite Picture of You - Kevin, Ben, Jonathan
  • The Greencards, Sweetheart of the Sun
  • Sarah Jarosz, Build Me Up From Bones
  • The Milk Carton Kids, The Ash & Clay
  • Various Artists, They all Played for Us: Arhoolie Records 50th Anniversary Celebration

Kevin: Sentimental favorite who also put out a great album? How can they deny Guy Clark?

Jonathan: I’m tempted to pick the Arhoolie Records without having heard it, simply because it just seems like something the idiosyncratic Grammys would go for. Clark is a safer bet for his beautifully observed album, while the ascendant Jarosz would get my vote for her career-best work.

2014 Grammy Nominees

Saturday, December 7th, 2013

The nominations for the 56th Annual Grammy Awards have been announced.   Taylor Swift has the top nomination connected to country music, earning her second nomination for Album of the Year.  She took home the award four years ago for Fearless.

Here are the general category nominees, along with all country and country-related categories:

Taylor Swift RedAlbum of the Year

  • Sara Bareilles, The Blessed Unrest
  • Daft Punk, Random Access Memories
  • Kendrick Lamar, good kid m.A.A.d. city
  • Macklemore & Ryan Lewis, The Heist
  • Taylor Swift, Red

If Taylor Swift wins, she will be the first country-related artist in history to win the category twice with individual projects. Alison Krauss also has two victories, one for her collaboration with Robert Plant (Raising Sand, 2009), and another for her contributions to the O Brother Where Art Thou soundtrack (2002.)  The award has only been won by country artists in two other years: Glen Campbell for By the Time I Get to Phoenix (1968), and the Dixie Chicks for Taking the Long Way (2007).

daft-punk-get-lucky-612x612Record of the Year

  • “Blurred Lines” – Robin Thicke featuring T.I. and Pharrell Williams
  • “Get Lucky” – Daft Punk featuring Pharrell Williams
  • “Locked Out of Heaven” – Bruno Mars
  • “Radioactive” – Imagine Dragons
  • “Royals” – Lorde

For the third time in the last eight years, no country or country-related records make the cut. Only four country-related winners have triumphed in this category, but three of them have been in the last few years. Olivia Newton-John won for “I Honestly Love You” in 1975, followed much later by the Dixie Chicks for “Not Ready to Make Nice” in 2006; Robert Plant & Alison Krauss for “Please Read the Letter” in 2009; and Lady Antebellum for “Need You Now” in 2011.

Pink Nate Reuss Just Give me a ReasonSong of the Year

  • “Just Give Me a Reason”  – Jeff Bhasker, P!nk, and Nate Reuss
  • “Locked out of Heaven” – Phillip Lawrence, Ari Levine, and Bruno Mars
  • “Roar” – Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry, and Henry Walter
  • “Royals” – Joel Little and Lorde
  • “Same Love” – Ben Haggerty, Mary Lambert, Ryan Lewis, and Curtis Mayfield

For the third straight year, country is shut out of the top songwriting category, a streak that began after the writers of Lady Antebellum’s “Need You Now” won in 2011.

Kacey-Musgraves-Same-Trailer-Different-ParkBest New Artist

  • James Blake
  • Kendrick Lamar
  • Macklemore & Ryan Lewis
  • Kacey Musgraves
  • Ed Sheeran

Kacey Musgraves is the latest new artist to represent country music in this category, which has become a nearly annual occurrence since LeAnn Rimes was nominated and won back in 1997.  Previous country winners also include Bobbie Gentry (1968), Carrie Underwood (2007) and Zac Brown Band (2010).

Tim_McGraw_Two_Lanes_of_FreedomBest Country Album

  • Jason Aldean, Night Train
  • Tim McGraw, Two Lanes of Freedom
  • Kacey Musgraves, Same Trailer Different Park
  • Blake Shelton, Based on a True Story
  • Taylor Swift, Red

Despite the presence of four big, established stars, only Taylor Swift has actually earned a victory in this category.  She won in 2010 for Fearless.  She contended again in 2012 with Speak Now, which lost to repeating victors Lady Antebellum, who won two years in a row for Need You Now (2011) and Own the Night (2012).   Kacey Musgraves earns a nomination for her debut album, the first artist do so since 2005, when Gretchen Wilson contended with Here For the Party.

darius wagon wheelBest Country Solo Performance

  • Lee Brice, “I Drive Your Truck”
  • Hunter Hayes, “I Want Crazy”
  • Miranda Lambert, “Mama’s Broken Heart”
  • Darius Rucker, “Wagon Wheel”
  • Blake Shelton, “Mine Would Be You”

Since this category combined the solo categories into one, this award has been one by Taylor Swift (“Mean”) and Carrie Underwood (“Blown Away.”)  Lambert is the only previous winner in a predecessor of this category.

Kenny Rogers Dolly Parton Old FriendsBest Country Duo/Group Performance

  • The Civil Wars, “From This Valley”
  • Kelly Clarkson featuring Vince Gill, “Don’t Rush”
  • Little Big Town, “Your Side of the Bed”
  • Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
  • Kenny Rogers and Dolly Parton, “You Can’t Make Old Friends”

There’s really only one hit here, but there are plenty of former Grammy winners scattered among this category.  In case you’re wondering, the answer is no, they didn’t win a Grammy for “Islands in the Stream.”

MirandaMamasBrokenHeartBest Country Song

  • “Begin Again” – Taylor Swift
  • “I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
  • “Mama’s Broken Heart” – Brandy Clark, Shane McAnally, and Kacey Musgraves
  • “Merry Go ‘Round” – Shane McAnally, Kacey Musgraves, and Josh Osborne
  • “Mine Would Be You” – Jessi Alexander, Connie Harrington and Deric Ruttan

It’s not too common for people to receive double nominations, but here there are four songwriters competing against themselves: Jessi Alexander, Connie Harrington, Shane McAnally, and Kacey Musgraves.

Sarah Jarosz Build Me Up From BonesBest American Roots Song

  • “Build Me Up From Bones” – Sarah Jarosz
  • “Invisible” – Steve Earle
  • “Keep Your Dirty Lights On” – Tim O’Brien and Darrell Scott
  • “Love Has Come From You” – Edie Brickell and Steve Martin
  • “Shrimp Po-Boy, Dressed” – Allen Touissant

This category is brand new this year, encompassing songs from all of the subcategories in the American Roots field: Americana, bluegrass, blues, folk, and regional roots music.

Emmylou Harris & Rodney Crowell Old Yellow MoonBest Americana Album

  • Emmylou Harris and Rodney Crowell, Old Yellow Moon
  • Steve Martin and Edie Brickell, Love Has Come For You
  • Buddy Miller and Jim Lauderdale, Buddy and Jim
  • Mavis Staples, One True Vine
  • Allen Touissant, Songbook

Collaborations dominate this category, which is populated with many previous Grammy winners.  Emmylou Harris won this award twice, back when it was called Best Contemporary Folk Album.

James King Three Chords and the TruthBest Bluegrass Album

  • The Boxcars, It’s Just a Road
  • Dailey & Vincent, Brothers of the Highway
  • Della Mae, This World Oft Can Be
  • James King, Three Chords and the Truth
  • Del McCoury Band, The Streets of Baltimore

Del McCoury Band are the only returning victors in this category, winning back in 2006 for The Company We Keep.   Perhaps because of the broad voter base, this category has been dominated by acts with explicit ties to country music, including multiple wins by Ricky Skaggs, Jim Lauderdale, and Alison Krauss & Union Station, and one-off victories by Patty Loveless and Dolly Parton.  This year is the second in a row without crossover contenders; last year’s winner was the Steep Canyon Rangers for Nobody Knows You.

The Greencards Sweetheart of the SunBest Folk Album

  • Guy Clark, My Favorite Picture of You
  • The Greencards, Sweetheart of the Sun
  • Sarah Jarosz, Build Me Up From Bones
  • The Milk Carton Kids, The Ash & Clay
  • Various Artists, They all Played for Us: Arhoolie Records 50th Anniversary Celebration

A tribute to Guy Clark earned a nomination in this category last year, and now Clark himself is in contention for the prize.  None of the acts in contention have won in the folk fields before.

Also of note, the Pistol Annies set Annie Up earned nominations for engineer Chuck Ainlay and mastering engineer Bob Ludwig in the Best Engineered Album, Non-Classical category.  It competes against Daft Punk, another album mastered by Ludwig, along with sets by Alice in Chains, Queens of the Stone Age, Andrew Duhon, and Madeline Payroux.

 

Single Review: Hunter Hayes, "I Want Crazy"

Saturday, May 11th, 2013

Hunter Hayes I Want CrazyHunter Hayes just scored a decently big pop hit with “Wanted”, which was initially his first big country hit.  Perhaps that's why he's taking a cue from the pop market, and re-releasing his first album in an expanded edition called (Encore) this summer.

That set will include a guest appearance from Jason Mraz, so it's easy to think that musically, he might start taking his cues from the pop scene as well.   But “I Want Crazy”, the lead single from the expanded set, indicates that there's no need to jump t

o that conclusion so far.

If anything, “I Want Crazy” is insanely derivative of Golden Road-era Keith Urban,  full of ridiculously catchy banjo riffs and melodies so light and breezy they practically float away.   Not surprisingly, his lyrics haven't matured much, so even this new song's charm is mostly adolescent, a fact all the more remarkable given it is co-written by Lori McKenna.

But as I've written before, he's got the chops.  If he keeps his feet firmly grounded in country music and keeps developing his songwriting craft, he could develop into quite the artist.  For now, we have to settle for some radio filler that's worth cranking up the volume for.

Written by Hunter Hayes, Lori McKenna and Troy Verges

Grade: B

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A Conversation with Katie Armiger

Tuesday, January 15th, 2013

KatieArmigerIn 2007, Katie Armiger released her first album at just 15-years-old after winning a local singing competition in Texas. Since then, she’s had quiet but solid success in the industry, earning four Billboard-charting singles and touring with major artists such as Brad Paisley, Little Big Town, Jason Aldean and Ronnie Dunn. 

Last year, Country Weekly’s readers voted 21-year-old Armiger the “Hottest Bachelorette” for the second consecutive year, just before she appeared on ABC’s dubious reality television show, “The Bachelor Pad.” Ironic events, considering the fellow Sugar Land native has built her image on independence and  empowerment, themes she captures pithily on her first Top 40 hit, “Better in a Black Dress.”

Armiger’s latest album with Cold River Records, Fall Into Me, drops today - but don’t expect a collection of love stories. Its 14 songs depict the highs and lows of love with equal weight,  backed by strong, melodic hooks and Armiger’s character-filled voice. Last month, she took some time to chat with Country Universe about the blend of styles on her new album, being a woman in a male-dominated genre, and the inspiration for her ode to single girls.

Seetharam: Country music has long struggled with a gender bias that’s only now starting to melt. What’s your experience been like as a young female artist in the industry?

Armiger: Oh, I agree. It’s honestly gotten a lot easier as I’ve gotten older. Maybe it just comes with age, but I do feel like the industry has changed. When I first started, it was so male-dominated. Now the doors for females are opening up, and it’s a lot easier as a female artist to get your music out there.

How do you differentiate yourself from the other young female artists that are out there?

That’s a good question. I think everyone has their own style, and I am a singer-songwriter. Everything that I write is very personal – sometimes I wish it wasn’t as personal as it is. And my music is a blend. I tend to write everything. There are so many different types of country music– there’s more traditional, more modern – that you can sing, which is so neat. I try to do a really good blend of that.

I think that’s the constant debate – there are so many influences in country music these days. How do you define country music, or can you?

The thing about country music, regardless of what the sound is like, is that the songs all tell stories. You can listen to any country song, and it tells a story, whether it’s happy or sad. It’s not a song that’s sung without purpose. And that’s what I really love.

Are there any new artists that you find particularly interesting or inspiring?

I’m a really big Hunter Hayes fan. I love his stuff. He’s so talented. I’ve met him, and he’s so friendly. I really think we’re going to see great things from him.

He seems to be rising very quickly. Who are your idols in the industry, or the artists whose careers you admire?

I listened to a lot of Martina McBride growing up, a lot of Patsy Cline, Linda Ronstadt. A lot of very strong female country singers. I definitely try to emulate that. I want to portray strength in my music, and all of those women are very, very strong, dominant personalities. They knew what they wanted, and that’s always what I try to go for.

Speaking of different generations, have you had the chance to catch the show “Nashville”? Does it align with how you perceive the industry, and the way the veterans and newcomers interact?

I haven’t caught everything, but I’ve watched a few episodes. I honestly think it blurs the line. Some of the stuff is a little true – like you watch it and you’re like “OK, I can see that.” There’s definitely drama in the music industry, but not quite to that extent.

I’ve never seen anyone quite like Juliette in country music. Have you come across that kind of attitude?

No. That’s what’s funny. One of the things I love most about country music is that it is such a family thing. Everybody’s friends. Everybody’s super nice. It’s not cutthroat like other industries, and [“Nashville”] makes it seem super cutthroat.

What was is it like to play the Opry for the first time back in 2011?

It was one of the most indescribable things. It’s such an honor to be there, and when you’re singing, you’re just sitting there going, “I’m standing in this spot where all of these people –all of these legends who made country what it is– stood years ago.” It’s surreal.

And you have a dog named “Opry,” right? What’s the story behind that?

My dog at home gave birth, and she was one of the puppies. My stepmom called and was like, “You have to take her!” She was born when they made the announcement in my hometown that I was going to be playing the Opry. At the time, I thought there’s no way that I can keep the dog. I’m too busy – this is not going to work. But as soon as I got home and I saw her, I said, “Well, I don’t really care. I’m taking her with me.”

Let’s talk about your new music. You landed your first Top 40 hit with “Better in a Black Dress.” I think it’s fantastic – it’s empowering in a way that you can’t really find on country radio.

Thank you. It’s funny you say that because that’s definitely the thing I love the most about it. I think a lot of women are scared to sing songs like that because they think guys are going to judge them more. Guys can sing songs like that all the time, but if a girl sings something like that, it’s totally different. A guy can sing a song about taking a girl home and having fun, but a girl can’t.

What inspired this song?

It’s funny. It was kind of inspired by winning the [Country Weekly] “Hottest Bachelorette” contest. I had a lot of people try to set me up. You hit 20 and people are like, “So do you have a boyfriend? Are you going to settle down? When do you think you’re going to have kids? What’s your five-year plan? Tell me.”

I went into this with that thought in mind, and I wrote the song with my friend Blair. When I sat down, I told her, “I’m not ready for any of that. I don’t need the white picket fence. I don’t need to get married right now. Someday – just not now.” We wrote that song as the answer to all of these people saying that settling down is what you should do right now.

I love that story. Is the new album similar in theme to that song? How is it different from your previous albums?

It is very different from my past album. A lot of it is very progressive and percussion-driven, and there’s a lot of acoustic guitar. There’s definitely a theme, and that would be love. A lot of songs, whether they’re happy or sad, use the word ‘fall’ as in you’re falling in or falling out of something. And I thought it would be really cool to name the album after that concept, because whether you’re falling in love or falling out of love, that feeling of the fall you always remember.

That’s an interesting way to weave together songs that are happy, sad and in between. You co-wrote or wrote all songs on this album – what was that writing process like?

It was definitely challenging. I set out with the goal in mind to write everything. That’s what I had set out to do on all the other albums, but I heard songs that I just loved along the way and cut those as well. But on this one, I really set my mind to it. I was touring a ton in the last two years, and I’d be home for two days a month and would just try to write as much as possible when I was home. Sometimes I had to force myself get in the zone, even if I wasn’t there.

You’ve said it’s a deeply personal album. Are there specific people that these songs are about?

There definitely are. I won’t ever name names or anything like that, but honestly, some of them are about me, and some of them are about friends and their relationships. It’s a little bit of everything – it’s not just about me.

Do you have a favorite song or lyric on the album?

I cannot pick a favorite on this album. I have a few that I really, really love. There’s one I wrote with Mallary Hope, and it’s just this really sweet, really pretty, stripped-down love song (“Safe”). It’s actually the last track on the album. That’s definitely one that sticks out for me.

It’s about that feeling when you’re in a relationship – the happiest moment in a relationship. I think every person, whether you’re a girl or a guy, wants to feel safe. And when you feel safe with somebody, when you can tell them anything and be yourself with them, that’s the best feeling,

at least for me. That’s what the song is about.

What was it like working with Chad Carlson? Was there a specific sound that you two were trying to create?

I worked with him a little bit on the last album, and we really wanted to change from the last album. We wanted to have cool moments in every song, and I wanted to be able to hear the acoustic guitar on songs. I wanted there to be a lot of percussion and a lot of movement so that when you’re listening, you can tap your hand – whether it’s a slow song or a happy song. It’s definitely a bit different than the previous records, so hopefully people like it and can relate to it.

I love every single aspect of country music. I’ve written every single type of country song, and on this album, everything was definitely put on there with a purpose and with intent. It wasn’t just putting some songs on there for the sake of doing so.

Over the past few years, you’ve toured with a lot of different major country artists. Were there any elements of their tours or music that you took away and were able to channel into your new album?

I don’t know if I put any of the elements into my new album, but I definitely took all of the things that were in the back of my mind for future touring. Just different things like watching how their crew interacts and how they interact with their crew. It’s tiny things like that that you put in the back of your mind and say, “Wow, I never want to overlook that.”

Who do you think you’ve learned the most from, touring or otherwise?

I did one show with Brad Paisley this last year, and I was like, “This is why he is where he is.” He has it completely together. Every single thing. It must take such a long time for those people [on his tour]. It’s a very big crew to put a show on, but everybody’s so gracious and so humble and it doesn’t matter how big he is. He’s nice and friendly to everyone. That’s so important.

Why do you think people like Brad and Reba McEntire and those types of artists have had such staying power in the industry?

I think it’s a combination of having really good music, having a really great personality and having that drive. You have to have that. You’re out on the road so often, you’re not home a lot, and you have to just be OK with that. You always have to be on and be positive, and I think that [artists who've had staying power] are always great at that. It’s very hard to do sometimes.

Where do you see yourself 20 years from now? Where do you want to be?

I still want to be touring. I mean, who can say where they’ll be, but I just want to be singing and making records. I want to be putting music out there – and having people love the music and hopefully relate to it.

Concert Review: Carrie Underwood with Hunter Hayes

Monday, December 3rd, 2012

Carrie Underwood with Hunter Hayes
The Blown Away Tour
Prudential Center
Newark, NJ
December 1, 2012

There’s a desirable sweet spot in every big performer’s career where they finally have a large number of hits to fill out a two-hour show, a compelling enough current album to sustain audience interest between the hits, and the appropriate level of earned confidence to take some bold risks in staging and presentation.

Carrie Underwood just hit that sweet spot.  Her Blown Away Tour hit Newark on Saturday, playing to an arena packed with fans of all ages.  It’s an arena show, too, filled with pyrotechnics and

special effects and a backing band that shook the cheap seats on the more rocking numbers.  Opening with “Good Girl”, Underwood tore through an opening section which included a healthy mix of hits from all four of her studio albums.

But the show didn’t hit its stride until the second section, when she surprised the audience with the appearance of a choir from local elementary school P.S. 22.   They supported her in a touching rendition of “So Small” that lived up to its name, stripping the bombast from the studio recording and letting the lyric shine over the sweet harmonies that only bewilderingly talented tots can produce in unison.    The arena felt as intimate as a sitting room as she sang “Temporary Home”, which seemed to have her on the verge of tears by the third verse.

After a few more hits, the show peaked with an ingenious third act that had Underwood floating above the audience on a moving platform.   Why was it ingenious?  It solved a few arena show dilemmas at once, keeping the entire audience riveted while the artist sang unfamiliar album cuts.   At the point of the set list usually designed for bathroom breaks, Underwood had the entire arena on their feet, cheekily waving to and interacting with the audience members all around her, and even those directly under her.  These are the benefits of a clear plexiglass floor, you see.

At times, the staging was a bit too ambitious.  The video screens that were used so effectively for visual songs like “Two Black Cadillacs” were a glaring distraction for much of the show, with random patterns that looked more like late nineties Windows screen savers than anything else.  Transitional interludes featured some interesting animation, but it was interrupted by glamour shots of Underwood, as if they were afraid we’d forget about her while she was changing costumes backstage.   But the opening and closing projections centered around “Blown Away” were executed brilliantly, among the best I’ve seen in an arena show.

Vocally, Underwood was nearly flawless, never missing a note but occasionally losing her breath while she enthusiastically engaged the audience.  At times, she seemed a little overwhelmed by her band, most notably during a painfully loud cover of Aerosmith’s “Sweet Emotion.”  When the arrangements were slower or simpler, with her voice accompanied by only a handful of instruments, she sounded better than I’ve ever heard a powerhouse vocalist sound in concert.

When you combine her precision with the very few liberties the band took with the studio arrangements, and you could be forgiven for thinking you were listening to an actual studio recording.  She really is that good.  She somehow elevated the fan favorite “I Know You Won’t” to staggering new heights, and that’s a song that seemed superhuman even as a studio recording.  I repeat, she really is that good.  But most impressive was when she revisited older tracks like “Jesus, Take the Wheel” and “Wasted”, and actually improved on them, showing how much she has grown in interpretive skill and vocal nuance since the beginning of her career.

Those hits from the first album, along with the pre-encore closer “Before He Cheats”, where absolutely the biggest crowd-pleasers, giving anecdotal evidence to the theory that Underwood’s greatest competition has been herself.  Those early hits have overshadowed everything she’s done since, successful as she’s been.  But I discovered something when she closed the show with “Blown Away.”  The audience roared at the opening notes, after having been teased mercilessly with clips from the video all night.   There was more energy and excitement during that performance than at any other moment.  It’s her first career record in years.

Underwood was classy and thoroughly charming throughout.  That light shines through even when her material’s at its darkest.   It was a minor annoyance for me that I was surrounded by tweens, teens, and twenty-somethings that stood for the whole show and sang along with far too many songs.   But seeing a whole row of those tweens in Carrie Underwood t-shirts, clearly at their first big concert and hanging on every word that their idol sang, I was struck with a deep appreciation for this artist.   I’ve always been grateful that she respected the genre’s traditions and institutions, but I’m always worried about preserving the genre’s past.  She’s also securing its future, as perhaps the only artist in country music history who can pack an arena that is equal parts tween, young adult, and the rest of us.  In that sense, she just might be the most significant country artist of her time, in addition to being the flat-out best singer.

I missed the first couple of songs by opening act Hunter Hayes, but judging by the piercing adolescent screams that permeated the arena, he won’t be an opening act for much longer.  I must say that he’s remarkably talented.  I expected the country arrangements and the solid vocals, but his prowess with both the guitar and the piano took me by surprise.  He’s somewhere between Keith Urban without the gravitas and Gary LeVox without the nasal drip.   Hopefully, he’ll keep honing his songwriting skills and his audience will stick around as he develops.  He’s got more promise than most of his contemporaries.

Carrie Underwood Set list:

Good Girl
Undo It
Wasted
I Told You So
Two Black Cadillacs
Last Name
So Small (with P.S. 22 Student Choir)
Temporary Home
Jesus, Take the Wheel
Cowboy Casanova
Get Out of This Town
Nobody Ever Told You
Thank God for Hometowns
Crazy Dreams
Do You Think About Me
One Way Ticket
Flat on the Floor
Leave Love Alone (with Hunter Hayes)
Sweet Emotion
Remind Me (with Brad Paisley via Video Screen)
Cupid’s Got a Shotgun
Before He Cheats
I Know You Won’t
Blown Away

Single Review: Hunter Hayes, "Somebody's Heartbreak"

Saturday, November 24th, 2012

You know how some kids are all excited to go into battle, and then they join the army and find out what war’s really like?

“Somebody’s Heartbreak” is the lovestruck equivalent of that misguided innocence.   Hayes is volunteering to get his heart broken by the girl he fancies,  figuring it’s better to have love and lost than to have never loved at all.

It’s charming. It’s country.  It’s sweet but not saccharine.  It’s a teenage country record that’s equal parts teenage and country.

The young guy’s ridiculously talented, and I hate to send ill will his way.  But honestly, I can’t wait ’till this guy really

does get his heart broken.   He’ll make some killer country music then.

Written by Andrew Dorff, Hunter Hayes and Luke Laird

Grade: B+

2012 CMA Awards: Staff Picks & Predictions

Sunday, October 28th, 2012

While the rest of the country fixates on “Nashville,” the 46th annual Country Music Association Awards air live from Music City with equal drama and ridiculousness November 1 at 7 p.m. CST. The CU staff picked and predicted the awards below. Chime in with your thoughts, and check back for our live blog on Thursday night!

Entertainer of the Year 

Should Win:

  • Jason Aldean – Dan, Ben, Kevin
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift – Jonathan, Tara, Leeann

Will Win:

  • Jason Aldean – Dan, Ben, Jonathan, Kevin
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift – Tara, Leeann

Dan: I’ll probably never be able to fully embrace Aldean, but his impact on the genre remains undeniable, and once in a while he releases something like “Fly Over States” that lends some dimension to his hick-rock formula.

Tara: “Fly Over States” will land on my best-of-2012 list (I’m as surprised as you are), but I just can’t get behind Jason Aldean’s overall brand of country, regardless of his impact. That leaves me with Blake Shelton and Taylor Swift, and only the latter put out music to match her star in the eligibility period. Boring category.

Ben: Sadly, this category just keeps getting harder and harder for me to care about.  I could still see Swift taking it, but an Aldean victory is almost certain to happen sooner or later, and I’m thinking this could be his year.  Blake’s turn will come eventually, but not until after Aldean has had his.

Jonathan: Aldean has yet to release anything I’ve liked even a little bit, but this award has increasingly turned into Nashville’s way to say “thank you” to whoever is bringing the most cash back to Music Row, so Aldean is likely due for a pat on the back. On some level, Shelton’s heightened media presence is its own reward, but he’s the most likely spoiler here, since pop crossover stars like Swift rarely pull off repeat wins.

Kevin: Should win: Carrie Underwood. But since she’s not nominated, I’ll go with Jason Aldean, who has been the biggest country artist this past year. I expect he’ll win, too.

Leeann: While it’s completely baffling to me that Jason Aldean has taken off as he has, I wouldn’t be shocked if he won this award. I, however, feel that it’s far more likely that Taylor Swift will win again.

Female Vocalist of the Year 

Should Win:

  • Kelly Clarkson
  • Miranda Lambert – Leeann
  • Martina McBride
  • Taylor Swift
  • Carrie Underwood – Dan, Ben, Jonathan, Tara, Kevin

Will Win:

  • Kelly Clarkson
  • Miranda Lambert – Dan, Ben, Jonathan, Tara, Kevin
  • Martina McBride
  • Taylor Swift – Leeann
  • Carrie Underwood

Tara: I still believe Underwood’s best is yet to come, but she deserves respect from the industry and critics alike for taking the kind of creative, thematic and interpretive risks she took with Blown Away. Maybe come next year she’ll have more influence; this year, the award is still Lambert’s to lose. (And shout out to homegirl Clarkson, who may have no place in this category, but who gave us the best cover of “Go Rest High On That Mountain” that I’ve ever heard.)

Ben: In my perfect world, Carrie Underwood’s solid new music (which was released within this year’s eligibility period) would nab her the trophy.  Miranda had the most radio success this year, and will almost surely emerge victorious, but I simply can’t endorse the idea of rewarding her for releasing two singles that were easily the worst duds of her career.  Footnote:  Country radio seriously needs to start supporting more female artists.

Jonathan: I adore Kelly Clarkson, and, based upon nearly a decade’s worth of concert performances, I’d argue that she has the best taste in country material of any of the women nominated, and I look forward to the day when she finally records a proper country album. But her nomination here is absurd. Fortunately, she’s not really in the running to win. This likely comes down to Lambert and Underwood. In the past, I’ve championed Lambert for her fearless artistic vision, and I’ve been highly critical of Underwood’s grossly over-praised and over-rewarded output. But, this year, I’d prefer to see Underwood recognized for what is far and away her career-best work than to see Lambert win for what is quite obviously her worst. I doubt the voters will agree.

Dan: Ditto the others, pretty much. Underwood’s taste in material has deepened, but what excites me most is that her interpretive abilities have, too. I never used to feel comfortable with those comparisons to the Trishas and Connies of the world. Now I do.

Kevin: It’s all been said. Underwood’s reached new heights of artistry while still maintaining her commercial relevance. I’d call her one of the best,  but that would imply there’s anyone else in her league right now.

Leeann: Miranda Lambert is still my favorite out of these choices and Kelly Clarkson’s nomination is still confusing to me. I think the award is a toss up between Taylor and Carrie in all actuality though.

Male Vocalist of the Year

Should Win:
  • Jason Aldean
  • Luke Bryan
  • Eric Church – Dan, Ben, Jonathan, Tara, Kevin
  • Blake Shelton – Leeann
  • Keith Urban

Will Win:

  • Jason Aldean
  • Luke Bryan – Dan
  • Eric Church – Kevin
  • Blake Shelton – Ben, Jonathan, Tara, Leeann
  • Keith Urban

Tara: Unlike last year’s crop of men, these five at least put out memorable if not entirely thoughtful material in the eligibility period. But Church is the only one who’s had a consistent vision, and what a difference that makes. I don’t see the voters dethroning Shelton, though.

Ben: I expect that the CMA is going to continue shoving the whole “Blake and Miranda are the new Tim and Faith!” idea down our throats, but Eric Church made the best music of the field by far, and country radio finally decided to get on board with it.  Eric Church deserves this.

Jonathan: Church is the only one of the five who has released any strong material during the eligibility period, though I generally remain a fan of Urban’s. It’s hard to see either of those two men winning, though. Urban’s past his commercial peak, and Church is still too divisive a persona. I also think Aldean’s vocal limitations play against him here – see Chesney, Kenny, and his track record in Male Vocalist races – especially since he’s likely to be recognized elsewhere. That leaves Crest WhiteStrips to take on Shelton. I think Shelton gets another win before Bryan’s inevitable coronation here.

Dan: CMA has developed a bad habit of just voting for the incumbent. But Bryan has the most momentum right now, so what the hey; I’ll mix things up and call it Crest Whitestrips 2012.

Kevin: Gonna go out on a limb and say the best one takes it home this year. They’ve got to be itching to finally acknowledge Eric Church, right? Right???

Leeann: Blake Shelton has had a good year. I suppose he has a good, high profile chance of being rewarded for it.

Vocal Group of the Year 

Should Win:
  • The Band Perry
  • Eli Young Band
  • Lady Antebellum
  • Little Big Town – Kevin
  • Zac Brown Band – Dan, Ben, Jonathan, Tara, Leeann

Will Win:

  • The Band Perry
  • Eli Young Band
  • Lady Antebellum – Dan, Ben, Leeann
  • Little Big Town – Jonathan, Tara, Kevin
  • Zac Brown Band

Dan: Little Big Town’s album is too new, but their sudden momentum could power them to a spoiler win here anyway, depending on who Capitol gets behind. I’ll support them come ACM time; for now, give Zac Brown Band their freakin’ due.

Tara: Zac Brown Band and Little Big Town both put out stellar new music; the only major difference is timing. I support a ZBB win but won’t be disappointed if/when the “Pontoon”-fueled LBT steals this from the most complacent group in country music.

Ben: Zac Brown Band should win.  Lady Antebellum will win. Déjà vu?

Jonathan: As much as logic points to another indefensible win for the most useless act in popular music, and as much as I want to see Zac Brown Band finally earn their long-overdue recognition, I’m calling this one an upset for the also-long-overdue Little Big Town. That karaoke video for “Pontoon” showed off just how deeply likedthey are by their peers, and now that they have the commercial stats, I think that that pervasive goodwill gives them the edge here.

Kevin: I think the red-hot momentum of Little Big Town could put them over the top. Zac Brown Band’s been my pick for a couple of years, but I really think they’re just treading water at this point.

Leeann: Zac Brown Band is far and away my favorite group of the nominees here, but Little Big Town’s talent is undeniable. I’d be happy if either of them won. I’m afraid Lady A will still win though.

Vocal Duo of the Year

Should Win:
  • Big & Rich
  • Love and Theft
  • Sugarland
  • The Civil Wars – Dan, Ben, Jonathan, Tara, Kevin, Leeann
  • Thompson Square

Will Win:

  • Big & Rich
  • Love and Theft
  • Sugarland – Leeann
  • The Civil Wars  – Kevin
  • Thompson Square – Dan, Ben, Jonathan, Tara

Ben: Because The Civil Wars are good.

Jonathan: Per usual: Merge this category with Vocal Group to trim the fat. The only act here deserving of the recognition is the one with the longest of long-shots to win.

Dan: La la la.

Tara: So pointless.

Kevin: I’m going out on another limb, this time by thinking that the whole “massive commercial success without radio” thing will give the Civil Wars a Mavericks-style victory. I’d honestly rather be wrong in my predictions than be depressed before the show even airs.

Leeann: I don’t think Sugarland has had a particularly active year, but I think they might still win based on name recognition.

New Artist of the Year

Should Win:
  • Lee Brice – Ben, Tara, Leeann
  • Brantley Gilbert
  • Hunter Hayes – Dan, Kevin
  • Love and Theft
  • Thompson Square

Will Win:

  • Lee Brice
  • Brantley Gilbert – Dan, Ben, Jonathan
  • Hunter Hayes – Kevin, Leeann, Tara
  • Love and Theft
  • Thompson Square

Dan: Since none of these artists do it for me, I’d shrug it over to the technically skilled Hayes, who I think could be interesting in the future if he challenges himself to become more than a one-man boy-band. As Sawyer Brown and Keith Urban have proven, sometimes an artist earns their win in this category retroactively.

Tara: Hunter Hayes needs to rein it in a bit, but his chops have potential. Lee Brice needs to find better material, but his performances are believable. “Hard To Love” is one of my favorite guilty pleasures of the year, so I guess I’ll go with the latter?

Ben: Lee Brice strikes me as having the most potential of these nominees, but right now, I think the Brantley Gilbert virus has already spread too far.

Jonathan: Absolutely not.

Kevin: Hunter Hayes is the musical equivalent of those memes that show cats doing people things. He’s putting out real country music, and it’s adorable! All joking aside, I’m pulling for real country music wherever I can find it. Hayes is all I’ve got to work with here.

Leeann: I’m really not fond of any of these choices.

Album of the Year
Should Win:
  • Luke Bryan, Tailgates and Tanlines
  • Eric Church, ChiefDan, Ben, Jonathan, Tara, Kevin, Leeann
  • Miranda Lambert, Four the Record
  • Dierks Bentley, Home
  • Lady Antebellum, Own the Night

Will Win:

  • Luke Bryan, Tailgates and Tanlines
  • Eric Church, ChiefDan, Kevin
  • Miranda Lambert, Four the RecordBen, Tara
  • Dierks Bentley, Home
  • Lady Antebellum, Own the NightJonathan, Leeann

Dan: Everyone but Bentley’s got a shot, but my hopeful guess is that this is where the CMA will reward Church.

Tara: Chief and Four the Record both made big impressions on me last year, but only the former has held up with time. I’ll be optimistic and predict the CMA will reward its reigning Female Vocalist of the Year over its reigning Group of the Year. (I still can’t get over Own the Night winning a Grammy, y’all. Unbelievable.)

Ben: Church’s Chief is head-and-shoulders above the rest of the field, but my gut is still predicting a Lambert and Shelton sweep, though there’s still a chance the voters may decide to reward that dreadful Lady A album instead.

Jonathan: Bright side: This is the last major “Album of the Year”-type award Own the Night is eligible to win. Downside: This is the last major “Album of the Year”-type award Own the Night will win, at the expense of far more deserving competition.

Kevin:  I think Chief really made an impression, and I’m betting it was enough of one to win.

Leeann: I  reflexively assume Lady A will win this award at this point, but I’m hoping for a Dierks Bentley or Eric Church win. Dierks Bentley’s album is quality and I feel Eric Church’s album is interesting and fresh.

Song of the Year

Should Win:
  • “Even If It Breaks Your Heart” – Will Hoge and Eric Paslay – Dan, Jonathan, Tara
  • “God Gave Me You” – Dave Barnes
  • “Home” – Dierks Bentley, Dan Wilson and Brett Beavers – Kevin, Leeann
  • “Over You” – Miranda Lambert and Blake Shelton
  • “Springsteen” – Eric Church, Jeff Hyde and Ryan Tyndell – Ben

Will Win:

  • “Even If It Breaks Your Heart” – Will Hoge and Eric Paslay – Dan, Tara
  • “God Gave Me You” – Dave Barnes – Leeann
  • “Home” – Dierks Bentley, Dan Wilson and Brett Beavers
  • “Over You” – Miranda Lambert and Blake Shelton – Ben, Jonathan
  • “Springsteen” – Eric Church, Jeff Hyde and Ryan Tyndell  – Kevin

Dan: I think I’m just being optimistic, but maybe the earnest Hoge/Paslay story of struggling for an artistic life will resonate with enough music-industry vets to overcome the bait-ishness of “Over You” and “Home.” Maybe?

Tara: I’d be fine with three of these five winning — and would even argue that, as a composition, “God Gave Me You” is solid — but “Even If It Breaks Your Heart” has the most soul. I’m not entirely sure where the votes will fall on this one, but maybe pop culture’s spotlight on Nashville will mean a win for the songwriters’ anthem?

Ben: I can’t picture this going to anyone but Lambert and Shelton. If the CMA intends to keep working this ridiculous power-couple nonsense, they have created a golden opportunity here, and I highly doubt the song’s awfulness will be any hindrance.

Jonathan: If knowing a song’s tragic backstory is a requirement for finding “meaning” in that song, then its songwriters have failed.

Kevin: I’m hoping the CMA voters sing Shelton and Lambert’s song back to them when filling out their ballots, and pick the strongest singer-songwriter in this race. Bentley’s cut is my personal favorite.

Leeann: I just have a feeling that the bland love song will win, but I’m hoping that the thoughtful  “Home” will prove me wrong.

Single of the Year 

Should Win:
  • Jason Aldean, “Dirt Road Anthem” – Kevin
  • Blake Shelton, “God Gave Me You”
  • Dierks Bentley, “Home” – Leeann
  • Little Big Town, “Pontoon”
  • Eric Church, “Springsteen” – Dan, Ben, Jonathan, Tara

Will Win:

  • Jason Aldean, “Dirt Road Anthem” – Kevin
  • Blake Shelton, “God Gave Me You” – Ben, Leeann
  • Dierks Bentley, “Home” – Dan, Jonathan, Tara
  • Little Big Town, “Pontoon”
  • Eric Church, “Springsteen”

Dan: Feels like a toss-up, actually. I’d figure “Home” and “Springsteen” to duke it out, but remember that year when “I Saw God Today” randomly won?

Tara: “Home”’s graceful approach to patriotism is lovely and especially appreciated during this infuriating election season, but the song itself lacks spark. “Springsteen” is the better all-around record, and I think it’ll hold up with time, which is a lot more than I can say about the remaining three songs in the category.

Ben: I think “Springsteen” is going to be the song with the most staying power.

Jonathan: As fine a single as “Springsteen” is, I just can’t see the CMA rallying behind a song inspired by the Boss, especially not in an election year. Bentley’s thoughtful and relatively subtle brand of patriotism seems like a far safer bet.

Kevin: I think that Aldean’s track is the coolest sounding record of the five. Surface pleasures will suffice.

Leeann: Please not “Dirt Road Anthem”!

Musical Event of the Year 

Should Win:
  • ”Dixie Highway”- Alan Jackson and Zac Brown Band
  • ”Feel Like a Rock Star” – Kenny Chesney and Tim McGraw
  • ”Roll Me Up and Smoke Me When I Die” – Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson – Dan, Jonathan, Tara
  • ”Safe and Sound” – Taylor Swift featuring the Civil Wars – Ben, Kevin, Leeann
  • ”Stuck on You” – Lionel Richie and Darius Rucker

Will Win:

  • ”Dixie Highway”- Alan Jackson and Zac Brown Band
  • ”Feel Like a Rock Star” – Kenny Chesney and Tim McGraw – Ben, Jonathan, Leeann
  • ”Roll Me Up and Smoke Me When I Die” – Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson
  • ”Safe and Sound” – Taylor Swift featuring the Civil Wars – Dan, Kevin, Tara
  • ”Stuck on You” – Lionel Richie and Darius Rucker

Dan: “Roll Me Up” is a little hoot. But “Safe and Sound” had a higher profile, and it gives CMA a chance to be like, “See? We do appreciate the Civil Wars!”

Tara: Every song but “Roll Me Up” feels like it’s lacking something (in Chesney/McGraw’s case, taste), but I think “Safe and Sound” will have enough commercial clout to nab this one.

Ben:  While I’m always happy to see some Alan Jackson love, “Dixie Highway” just doesn’t match the simple charm of Jackson and ZBB’s previous collaboration.  “Safe and Sound” is just such a cool, haunting record – one that brings out the best in both of the acts involved.  But since “Feel Like a Rock Star” has the biggest names attached, I think it’s an easy call that it’s going to win.

Jonathan:“Safe and Sound” is my favorite track here, but not necessarily because it’s a great collaboration. “Roll Me Up,” on the other hand, is a fun standalone cut that feels like a real event, and I appreciate the self-awareness with which the artists toy with their public personas. But it’s hard to imagine more conservative voters being on-board with the phrase, “CMA award winner Snoop Dogg.” The Chesney and McGraw duet quite rightfully bricked at radio, but it’s still the most likely winner here on star power alone.

Kevin: “Safe and Sound” succeeded in pushing the most  mainstream of artists into an alternative country sound without sacrificing the identity of the duo that helped her get there. Plus it actually worked as a theme song to a movie that didn’t exactly lend itself to easy theming.

Leeann: I’d be fine with any of these except for the one that will probably win.

Music Video

of the Year

Should Win:
  • Eric Church, “Springsteen” – Dan, Ben, Tara, Kevin
  • Kenny Chesney, “Come Over”
  • Miranda Lambert, “Over You”
  • Little Big Town, “Pontoon”
  • Toby Keith, “Red Solo Cup”

Will Win:

  • Eric Church, “Springsteen”
  • Kenny Chesney, “Come Over”
  • Miranda Lambert, “Over You” – Dan, Ben, Jonathan, Kevin
  • Little Big Town, “Pontoon”
  • Toby Keith, “Red Solo Cup”

Dan: The “Springsteen” video is pretty neato. Oh well.

Tara: The video for “Springsteen” is haunting. I dig it.

Jonathan: The Twilight-hued video for “Over You” is every bit as narrativeless, cloying, and shallow as the song itself, so I’m just going to pretend this is a retroactive win for “Kerosene.”

Kevin:  (…Goes to YouTube to watch videos for first time…) Lambert, you had me until the horse. I’m going with Church, mostly because it reminds me of my own childhood and also Poltergeist for some reason.

Musician of the Year 

Should Win:
  • Sam Bush – Jonathan, Kevin
  • Paul Franklin – Ben, Leeann
  • Dann Huff
  • Brent Mason
  • Mac McAnally

Will Win:

  • Sam Bush
  • Paul Franklin
  • Dann Huff – Jonathan, Kevin
  • Brent Mason
  • Mac McAnally – Ben, Leeann

Ben: It’s Paul Franklin’s turn… and it has been for years now.

Jonathan: It’s not as cool as Chris Thile’s winning a MacArthur Fellowship, but Sam Bush’s nomination for his extraordinary mandolin work is my favorite thing on the entire CMA ballot this year.

Kevin: I can’t vote against the mandolin. I just can’t.

Leeann: I continue to root for the steel guitar.

2012 CMA Nominations

Wednesday, September 5th, 2012

The list of nominees for the 46th annual Country Music Association Awards has been released.  Eric Church had a big breakthrough this past year, and such is reflected in the nominee list – Church leads the pack with five nominations.  Power couple Blake Shelton and Miranda Lambert follow with four each, including a shared Song of the Year nod for their co-write “Over You.”

What’s your take on this year’s field of CMA nominees? Whose nominations were deserved, and whose were not? Who got snubbed? Share your thoughts in the comments section.

The live presentation airs Thursday, November 1 at 8pm Eastern on ABC-TV.  The Country Universe Staff Picks & Predictions will be released the week of the show.  Feel free to join us on show night for some live-blogging fun!

Entertainer of the Year 

  • Jason Aldean
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift

Who’s in:  Kenny Chesney
Who’s out:  Keith Urban

No real surprises here.  This year we swapped out Urban for Chesney, but all of these nominees have been here at least once before.

Female Vocalist of the Year

  • Kelly Clarkson
  • Miranda Lambert
  • Martina McBride
  • Taylor Swift
  • Carrie Underwood

Who’s in:  Kelly Clarkson
Who’s out:  Sara Evans

Well, I was hoping for some new blood in this category, and that’s definitely what I got.  Pop crossover star Kelly Clarkson scores her first nomination in the Female Vocalist field, displacing Sara Evans.  There will likely be some amount of upset over Clarkson receiving such an accolade, as she had one #21-peaking country hit in the past year with “Mr. Know It All,” but has yet to release a full-length country album.  And…that makes her one of the top five leading female vocalists in the country format?  Okay…

Male Vocalist of the Year

  • Jason Aldean
  • Luke Bryan
  • Eric Church
  • Blake Shelton
  • Keith Urban

Who’s in:  Luke Bryan, Eric Church
Who’s out:  Kenny Chesney, Brad Paisley

Bryan and Church’s recent career strides are rewarded

with their first nominations in the always-competitive Male Vocalist race.

Vocal Group of the Year

  • The Band Perry
  • Eli Young Band
  • Lady Antebellum
  • Little Big Town
  • Zac Brown Band

Who’s in:  Eli Young Band
Who’s out:  Rascal Flatts (!!!)

Eli Young Band scores a pair of huge radio hits, and thus squeezes out a former staple of the Vocal Group race.

Vocal Duo of the Year

  • Big & Rich
  • Love and Theft
  • Sugarland
  • The Civil Wars
  • Thompson Square

Who’s in:  Big & Rich, Love and Theft
Who’s out:  Montgomery Gentry, Steel Magnolia

New Artist of the Year

  • Lee Brice
  • Brantley Gilbert
  • Hunter Hayes
  • Love and Theft
  • Thompson Square

Who’s in:  Lee Brice, Brantley Gilbert, Hunter Hayes, Love and Theft
Who’s out:  The Band Perry (won), Luke Bryan, Eric Church, Chris Young (So, everyone except Thompson Square)

Album of the Year (Awarded to artist and producer)

  • Luke Bryan, Tailgates and Tanlines
    Produced by Jeff Stevens and Mark Bright
  • Eric Church, Chief
    Produced by Jay Joyce
  • Miranda Lambert, Four the Record
    Produced by Frank Liddell, Chuck Ainlay, and Glenn Worf
  • Dierks Bentley, Home
    Produced by Brett Beavers, Luke Wooten, and Jon Randall Stewart
  • Lady Antebellum, Own the Night
    Produced by Paul Worley and Lady Antebellum

Song of the Year (Awarded to songwriters)

  • Eli Young Band, “Even if It Breaks Your Heart”
    Written by Will Hoge and Eric Paslay
  • Blake Shelton, “God Gave Me You”
    Written by Dave Barnes
  • Dierks Bentley, “Home”
    Written by Dierks Bentley, Dan Wilson and Brett Beavers
  • Miranda Lambert, “Over You”
    Written by Miranda Lambert and Blake Shelton
  • Eric Church, “Springsteen”
    Written by Eric Church, Jeff Hyde and Ryan Tyndell

Single of the Year (Awarded to artist and producer)

  • Jason Aldean, “Dirt Road Anthem”
    Produced by Michael Knox
  • Blake Shelton, “God Gave Me You”
    Produced by Scott Hendricks
  • Dierks Bentley, “Home”
    Produced by Brett Beavers and Luke Wooten
  • Little Big Town, “Pontoon”
    Produced by Jay Joyce
  • Eric Church, “Springsteen”
    Produced by Jay Joyce

Musical Event of the Year

  • Alan Jackson and Zac Brown Band, “Dixie Highway”
  •  Kenny Chesney and Tim McGraw, “Feel Like a Rock Star”
  •  Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson, “Roll Me Up and Smoke Me When I Die”
  •  Taylor Swift featuring the Civil Wars, “Safe and Sound”
  •  Lionel Richie and Darius Rucker, “Stuck on You”

Music Video of the Year (Awarded to artist and director)

  • Eric Church, “Springsteen”
    Directed by Peter Zavadil
  • Kenny Chesney, “Come Over”
    Directed by Shaun Silva
  • Miranda Lambert, “Over You”
    Directed by Trey Fanjoy
  • Little Big Town, “Pontoon”
    Directed by Declan Whitebloom
  • Toby Keith, “Red Solo Cup”
    Directed by Michael Salomon

Musician of the Year

Sam Bush
Paul Franklin
Dann Huff
Brent Mason
Mac McAnally

Single Review: Hunter Hayes, "Wanted"

Thursday, June 14th, 2012

With song titles like “Storm Warning” and “Rainy Season,” one might very well wonder if Hunter Hayes had at one time been an aspiring meteorologist.  At any rate, the frosty-haired twenty-year-old has been gradually making inroads on country radio with the support of his hordes of cheering female fans.

So far, it's a familiar story:  A strong voice crying out for strong material.  While the addicting sonic groove supplied some redemption as “Storm Warning” continued stretching its metaphor to ridiculous extremes, “Wanted” offers little more than four minutes of meh, with scarcely a memorable melody or hook to grab onto.

Similarly, the lyric is almost groaningly simplistic.  The chorus says nothing except that the narrator wants to “Wrap you up,” “kiss your lips,” “call you mine,” etc.  The hook of “I want to make you feel wanted rings hollow, while the line “I don't know how you do what you do” has reached a point where it should be banned due to constant overuse.  “Your beauty is deeper than the makeup” is a decent line, but too thoroughly surround by mediocrity to be of any substantial merit.

That said, “Wanted” displays a little more sonic restraint than the typical mainstream country single, which is appreciable.  Swelling strings threaten to push it over the top in the bridge, but such are ultimately kept in their proper place.  Though Hayes' performance takes on added forcefulness toward the end of the song, he refrains from flat-out wailing.  At the very least, the doesn't hurt one's ears, but that alone doesn't extend its appeal beyond its four-minute running time.

Perhaps Hayes could be an interesting artist one day, as he clearly possesses a measure of talent, but it won't be with songs like this.  “Wanted” is a song that is consistently uninsteresting, clichéd, and flavorless, and not even playing every instrument on the album is going to fix that.

Written by Hunter Hayes and Troy Verges

Grade:  C

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