Country Universe – A Country Music Blog

Sincerity

Wednesday, December 29th, 2010

Earlier this year, a discussion with a colleague of mine revealed a mutual affinity for country music. It was a typical conversation that I have with fans that are around my age. We fell in love with the music about twenty years ago, don’t think it’s quite as good as it once was, but can find a lot of things to like from just about any era, including the current one.

So in the 2010 version of making a mix tape, I offered to load up her iPod with a whole bunch of country music. A week later, she took me to dinner as a thank you. We started talking about the music that I’d passed on to her, and she told me that she was listening to the iPod while mowing the lawn. Suddenly, a song came on that made her cry. Full-out cry, mind you, not just a tear or two.

So I ask if it was “Love, Me”, or maybe “Where’ve You Been”, or something similarly tragic. She was almost embarrassed as she told me that it was the old Anne Murray hit, “You Needed Me.”

Now, there are a few possible reactions to this. I suspect for many or even most, it will be either befuddlement or outright derision. But me? I totally understood why that song would have such a strong impact, and I can best describe it in one word: Sincerity.

It’s the bane of the cynic’s existence, and of many critics as well. You don’t see Anne Murray pop up on too many lists when discussing the greatest country artists of all time, or even the greatest pop-country singers of all time, even though she’s definitely both.  Ditto for Kenny Rogers and my once future wife Olivia Newton-John, who also fit well into both categories.

But there are some artists who exude sincerity and still are treated with reverence, like Loretta Lynn and Alan Jackson.  What makes them different?  I think it’s the added perception of authenticity that differentiates them from the artists above.

Take Dolly Parton as a case study. Rare is the critic or country music historian who doesn’t speak highly of both her pre-1976 and post-1999 output, where her music was firmly grounded in her mountain roots.  But her pop era – roughly 1977-1986 – is widely maligned.  The sincerity is there all the way throughout her career, whether it’s delivering the brilliant working class social commentary present in both “In the Good Old Days” and “9 to 5″, or when she’s just being hopelessly maudlin, be it with “Daddy Come and Get Me” or “Me and Little Andy.”

I think that she gets less credit for that period because there’s a sense that she’s being something that she’s not, that the authenticity is lacking.  When you think someone is being inauthentic in their sincerity, it’s hard for some to embrace them.  I think that I’m in the minority in that I don’t care much if someone is authentic, so long as they’re sincere.

Where things fall apart for me are when I perceive authenticity without being able to sense the sincerity in the performances. This is my major issue with many of the more traditional artists today. I think Jamey Johnson, Gretchen Wilson, and Brad Paisley are completely authentic in their music. They are who they say they are, and such. But I have trouble getting into them because they don’t come off as genuinely sincere.

It’s hard to articulate this, but to use Paisley as an example, he often sounds to my ears like he’s emotionally divorced from what he’s singing. The brain is plugged in, but I don’t feel the heart.   I loved, loved, loved “Letter to Me” because his voice cracked with emotion. I felt the sincerity that I don’t feel when I hear “Anything Like Me” or “Little Moments.”

Meanwhile, Carrie Underwood can rarely do wrong with me because she drips with sincerity, something that was prevalent even during her embryonic Idol days, but has really come into play with her writing so much of her material.  “Change” is my favorite song she’s done so far, not just because I fully agree with the message, but that she sings it with such sincerity. Does she live out the message in her own life?  I have no idea.  But her performance is so powerful to my ears that it being her authentic life story is as irrelevant to me as the fact that Sean Penn and Susan Sarandon aren’t really a death row convict and a Catholic nun, respectively.

Sincerity over authenticity, if I have to choose.  Both are great to have, but the former is more essential than the latter in the music that I love the most. It may be a meaningless distinction in the end, but it’s the only explanation I can come up with for me usually liking songs much better by great singers than by the original songwriters, and for Laura Bell Bundy getting so much more play on my iPod than Taylor Swift, the most genuinely authentic teen star ever.  Or at least since Lesley Gore.

With that all said, how about we listen to some Anne Murray? She’s awesome.

The Best Singles of 2010, Part 2: #30-#21

Tuesday, December 21st, 2010

The countdown continues, with appearances by popular new artists joined by a pair of nineties veterans.

The Best Singles of 2010, Part 2: #30-#21

#30

Roll With It
Easton Corbin

It’s easy to overlook Corbin’s second single as just another breezy summer tune, but it stands above the rest, thanks to its near-perfect execution. From the spirited delivery to the skillful handling of otherwise trite phrases –like the title phrase and “it won’t be no thang”— “Roll With It” makes a fresh, invigorating case for shedding everyday troubles and, well, rolling with it. – Tara Seetharam

#29

I Put My Ring Back On
Mary Chapin Carpenter

“I Put My Ring Back On” is a throwback to the sounds of Mary Chapin Carpenter’s glory days on the charts. It’s catchy with a message of relational perseverance. As a result, it’s one of the two most memorable songs on her latest album. – Leeann Ward

#28

Who Are You When I’m Not Looking
Blake Shelton

Blake Shelton has a strong voice, but it’s most expressive when he dials it back enough to allow the sensitivity to cut through. Exhibit A: “Who Are You When I’m Not Looking.” As one of the beautifully understated productions of the year, he loves everything that he knows about his woman, therefore, he can’t help but imagine and wonder about what he’s not seeing. – LW

#27

Put You in a Song
Keith Urban

Creating hooky pieces of ear candy is one of Urban’s defining talents, and the lead single from his November release is further proof. Blessedly, it’s devoid of the distracting electronic instrumentation that has lately plagued his recordings, which makes for one of Urban’s cleanest releases in recent years. – LW

#26

American Honey
Lady Antebellum

Look, I still don’t know what American honey is, and I’m guessing you don’t either. What I do know is this: Hillary Scott’s performance is layered, vulnerable and desperate – a perfect encapsulation of the wave of nostalgia that finds you in your early 20s. Coupled with the wistful melody, it’s enough to override the wacky metaphor and lift the song to one of the most poignant of the year. – TS

#25

A Father’s Love (The Only Way He Knew How)
Bucky Covington

This is probably Covington’s best performance to date. The song manages to be sweet without crossing the line to sickeningly cloying. It depicts a father who shows his love through action rather than verbal affirmation, which is something that the son ultimately accepts as just as good. – LW

#24

Playing the Part
Jamey Johnson

Something that Jamey Johnson isn’t afraid to do in this radio era of watered down, trite messages is expose himself as less than a perfect human being. Instead, he will sing about drug addiction (“High Cost of Living”) and depression, as we hear in this tale of disappointment that is a result of the crushing disappointment of unattained success. – LW

#23

Fearless
Taylor Swift

As a single release, it was little more than an afterthought, the album of the same name having already flexed most of its world-conquering muscles. As a sort of mission-statement album track, though, “Fearless” still rocks, adeptly capturing the jitters and giddiness of young romance and sort of arguing for embracing such sensations while you can. That Swift tells herself at a certain point to “capture it, remember it” suggests she knows there’s more loneliness and disappointment on the flip-side of this one elated moment. – Dan Milliken

#22

She Won’t Be Lonely Long
Clay Walker

Ringing with effortless charisma and playful sincerity, the lead single off Walker’s latest album was a welcomed reintroduction to his most beloved qualities. Interestingly, though the song serves as a tribute to his classic 90s sound, it fit snugly –and refreshingly– on country radio. – TS

#21

Only Prettier
Miranda Lambert

Lambert exposes the sneaky bitchery lurking behind so much Southern sweetness. Country radio is all like, “Whaaat?” – DM

Check out the rest of the list:

• The Best Singles of 2010, Part 1: #40-#31
• The Best Singles of 2010, Part 3: #20-#11
• The Best Singles of 2010, Part 4: #10-#1

2010 CMA Awards: Staff Picks and Predictions

Monday, November 8th, 2010

A Bountiful Harvest

Wednesday, August 25th, 2010

This fall, there seems to be as many new albums from significant country artists as I can remember.  Just look at Roughstock’s indispensable Fall 2010 Releases list.

New releases are on the way from no less than eight past CMA Entertainer of the Year nominees and winners, along with current top sellers Zac Brown Band, Billy Currington, Jamey Johnson, and Montgomery Gentry.

So head on over to see that list, then come back to answer this question:

What Fall 2010 CD Release are you most excited for?

For me, it’s no contest. I can’t wait to hear Sugarland’s The Incredible Machine.  Their last studio set, Love On the Inside, is my favorite mainstream country album of the past five years, and I still haven’t gotten tired of the covers they included in their stopgap set Live On the Inside.

Plus, “Stuck Like Glue” is my favorite lead single from any of their albums so far, no small feat given my deep affection for “Want To.”  Given that a new Dixie Chicks album comes along about as quickly as a Senator goes up for re-election, I need a fix of music from a really great country band, stat.

Single Review: Jamey Johnson, “Playing the Part”

Saturday, August 21st, 2010

Country boy, you got your feet in L.A. Again.

The country boy as fish out of the water in Los Angeles. Or New York. Or Detroit. It’s a pretty common theme in country music. Jamey Johnson does his own spin on this theme with his new single, “Playing the Part.”  It’s not terribly bad, but it’s not terribly good, either.  “Big City” certainly doesn’t have to worry about losing its slot on the Waffle House Jukebox.

Despite a busy little beat, Johnson remains only a step above lethargic.  His “Randy Travis 45 on 33 1/3 speed” vocal delivery worked for the slowly revealing lyrics of “In Color” and “High Cost of Living.”  But it lets him down here. Even the addiction reference feels obligatory, with Johnson repeating the “pills’ and “Hollywood hills” rhyme that worked much better on Faith Hill’s “When the Lights Go Down.”

That record worked because Hill actually sounded like someone who could have known someone in L.A. who’d gone down that road. Johnson’s got a gold album under his belt and has won a few awards, but it’s a stretch to picture him as a country boy who went chasing fame and fortune in California and is now collapsing under the weight of his success.

It was a stroke of marketing brilliance for Johnson to package himself as a modern-day Outlaw, making it far easier for him to reach a targeted demographic that would eagerly embrace him. Lord knows they’re going to eat these limited editions up like Taylor Swift fans blew their Sweet Sixteen money on this.

But he’s yet to really demonstrate that he could be the second coming of Waylon Jennings or Willie Nelson.  Right now, he’s got a shot at being a modern-day Gary Stewart or Mel Street, but he’s going to need better material than this to get there.

Like so much of country music today, and pop for that matter, the marketing and media campaigns are dramatically outpacing the development of the music.  Artists who have an album or two under their belt are being heralded as the new incarnation of legends with thirty-year careers. It’s an insult to the legends and an unfair burden to place on artists that are still honing their craft.

Because  in the end, the hype will die down and the music is all we’ll be left with.  I’d love to see Johnson become the traditional country legend that he’s been prematurely ordained, but he’s barely out of the starting gate, and I don’t see him getting much further down the road with material like this.

Written by Jamey Johnson and Shane Minor

Grade: B-

Listen: Playing the Part

Album Review: Dierks Bentley, Up on the Ridge

Tuesday, June 8th, 2010

Dierks Bentley
Up on the Ridge

As Dan observed in his single review of “Up on the Ridge”, there was a noticeable decline in Dierks Bentley’s music after his well received Long Trip Alone album. It is purely speculative to suggest, but one can’t help but wonder if Bentley himself felt staleness creeping into his music as well. It’s not farfetched for the idea to be true, since Dierks has proven himself to be an astute artist in the past. So, why wouldn’t he notice if there was, indeed, a shift?

Speculation aside, Bentley has taken a break from the routine of his last four albums to create an album that is far removed from what is popular on mainstream country radio and somewhat different than what he’s put on his own previous albums. However, he is still marketing to radio, as his first single, the title track, has been treated like any other Bentley single release. The album is not as adventurous, or as strong, as the Dixie Chicks’ unapologetically acoustic album, but it may be as close to the concept as we have gotten since their targeted mainstream acoustic project, Home.

It has been appropriately publicized that this album is not a pure bluegrass project. Instead, it is close in style to the bluegrass influenced tracks that Bentley has consistently included on each of his studio albums. Yes, mandolin, banjo, dobro and fiddle are ever present, but Bentley is not shy about using drums, exploring subversive melodies (“Up on the Ridge”, “Fallin’ for You”), or deviating from traditional bluegrass rules of engagement along the way. Moreover, Bentley does not possess the high lonesome tenor that is typically associated with bluegrass. He, however, proves himself to be a capable vocalist within the parameters of his unique style of it.

A handful of covers, songs by well respected songwriters, and some of Bentley’s own compositions makes this rootsy album a well rounded set. The best of the covers is bob Dylan’s “Senor (Tales of Yankee Power) and Kris Kristofferson’s Bottle to the Bottom”. While the otherwise solid “Bottle to the Bottom” features a somewhat pointless cameo by Kristofferson, the addition of the Punch Brothers on “Senor” is inspired art. A less successful cover is U2’s “Pride (in the Name of Love).” While Del McCoury’s distinctive tenor does well to do the heavy lifting, the over all recording still lacks the etherealness of the original. Ironically, as they are most closely associated with Americana, the Buddy Miller cover is the most mainstream friendly sounding song on the album. Unfortunately, it is also inferior to Miller’s version.

Among the strongest of Bentley’s songs is “Rovin’ Gambler” (once again, with the Punch Brothers), “Draw Me a Map” (featuring Alison Krauss on background vocals), “You’re Dead to Me” (co-written by and featuring Tim O’Brien”, and “Down in the Mine.”

Bentley wisely enlists the help of some of his creative friends such as the Punch Brothers (with Chris Thile of Nickel Creek fame), Del McCoury, Alison Krauss, Vince Gill, Jamey Johnson, Miranda Lambert, Tim O’Brien, and Kris Kristofferson. Complimented by Jon Randall’s organic production sensibilities, this impeccable support adds a welcome texture to the project. However, the collaborations work best when they are more subtle. For instance, while the prospect of Miranda Lambert and Jamey Johnson collaborating is, indeed, an appealing concept, the result does not rise to the occasion in practice. Both Lambert and Johnson deliver excellent performances with Bentley on “Bad Angel”, with Lambert’s voice being huskier than usual, but the parts together translate as more disjointed than natural. Likewise, the results of Del McCoury’s and Kris Kristofferson’s contributions were not as successful as one would hope for from such revered artists. On the other hand, the Punch Brothers (who played on several tracks), Alison Krauss, Tim O’Brien, Jon Randall, and Vince Gill (“Fiddlin’ Around”) were used less overtly to greater effect.

With expert musicianship by the best in the business, solid songs, and impressive vocal support, Up on the Ridge is a refreshing album from an artist who is taking a chance with this musical detour while still in the throes of a considerably lucrative career. Not only is taking such a chance commendable, Bentley has created a solid album to justify the diversion.

ACM Flashback: Single Record of the Year

Saturday, April 3rd, 2010

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

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

2010

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

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

2009

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

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

2008

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

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

2007

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

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

2006

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

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

2005

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

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

2004

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

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

2003

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

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

2002

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

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

2001

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

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

2000

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

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

1999

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

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

1998

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

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

1997

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

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

1996

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

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

1995

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

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

1994

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

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

1993

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

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

1992

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

This was Jackson’s first major industry award.

1991

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

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

1990

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

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

1989

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

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

1988

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

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

1987

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

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

1986

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

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

1985

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

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

1984

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

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

1983

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

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

1982

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

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

1981

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

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

1980

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

West Coast represent!

1979

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

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

1978

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

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

1977

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

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

1976

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

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

1975

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

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

1974

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

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

1973

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

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

1972

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

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

1971

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

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

1970

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

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

1969

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

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

1968

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

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

Facts & Feats:

Most Wins

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

Most Nominations

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

Most Nominations Without a Win

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

Singles that Won Both the ACM and CMA Award:

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

ACM Flashback: Album of the Year

Sunday, March 28th, 2010

The ACM Awards has traditionally been overshadowed by the CMA Awards, despite its longer existence. This is for several reasons.  First, the ACM originally existed to emphasize the West Coast country music scene, whereas the CMA Awards represented Nashville from the start.  The ACM has also been more commercially-oriented from the beginning, as the history of this category proves.  Eighteen of the last twenty winners in this ACM category are multi-platinum sellers, and the organization allowed greatest hits albums to compete for more than a decade.

Still, the ACM category has bragging rights of its own. Critically-acclaimed albums like Storms of Life, Trio, Killin’ Time and Crazy Ex-Girlfriend won at the ACMs but were overlooked by the CMAs.  Additionally, women have also been far more successful at this ceremony. Only five women have ever won the CMA Album trophy, and one of them was Sissy Spacek!  At the ACMs, women have dominated the category for the past three years, and the category has honored everyone from Loretta Lynn and Donna Fargo to K.T. Oslin and Shania Twain.

A special note about ACM flashbacks. Like the Grammys, the ACMs issue their award for a given year the following year, so the awards for 2009, for example, are given out in 2010.  For the purposes of the flashbacks, Country Universe notes the year the award is presented. While the ACM first presented awards in 1966, the Album category wasn’t introduced until 1968.

As with other flashbacks, we begin with a look at this year’s nominees:

2010

• Lady Antebellum, Lady Antebellum
• Miranda Lambert, Revolution
• Brad Paisley, American Saturday Night
• Carrie Underwood, Play On
• Zac Brown Band, The Foundation

Three previous winners – Miranda Lambert, Brad Paisley, and Carrie Underwood – compete against the debut albums of two hot bands.  Lady Antebellum and Zac Brown Band each picked up a Grammy this year and are well represented on the rest of the ACM ballot.  This is a very competitive race. Even the sales-friendly nature of the ACMs doesn’t help much here, as four of these albums are platinum and Lambert’s just went gold.

2009

• Jamey Johnson, That Lonesome Song
• Montgomery Gentry, Back When I Knew It All
• George Strait, Troubadour
• Taylor Swift, Fearless
• Carrie Underwood, Carnival Ride

Taylor Swift became the third consecutive female artist to win in this category, a feat that would’ve seemed unthinkable earlier in the middle part of the decade, when country radio all but exiled women from radio.

2008

• Rodney Atkins, If You’re Going Through Hell
• Kenny Chesney, Just Who I Am: Poets and Pirates
• Miranda Lambert, Crazy Ex-Girlfriend
• Brad Paisley, 5th Gear
• Taylor Swift, Taylor Swift

A visibly shocked Lambert accepted the trophy for her critically acclaimed sophomore set.  While it did go gold, it remains an anomaly among ACM album winners. You have to go all the way back to 1979 (Oak Ridge Boys) to find another ACM album winner that didn’t sell platinum or higher.

2007

• Brooks & Dunn, Hillbilly Deluxe
• Vince Gill, These Days
• Rascal Flatts, Me and My Gang
• George Strait, It Just Comes Natural
• Carrie Underwood, Some Hearts

Carrie Underwood became the first solo female artist to win this award in eleven years with her 7 million-selling Some Hearts.

2006

• Gary Allan, Tough All Over
• Brad Paisley, Time Well Wasted
• Rascal Flatts, Feels Like Today
• Sugarland, Twice the Speed of Life
• Lee Ann Womack, There’s More Where That Came From

A strikingly strong lineup, with the victory going to Brad Paisley. Due to differences in eligibility between the two shows, there are two CMA winners in this category. Not only did Paisley repeat his victory the following fall, Womack won the CMA the previous year.

2005

• Kenny Chesney, When the Sun Goes Down
• Sara Evans, Restless
• Tim McGraw, Live Like You Were Dying
• Keith Urban, Be Here
• Gretchen Wilson, Here for the Party

Though he’s always been popular with the CMA and Grammy voters, Urban’s only Album award to date came courtesy of the ACMs. Oddly enough, they haven’t nominated him since.

2004

• Brooks & Dunn, Red Dirt Road
• Toby Keith, Shock’n Y’All
• Martina McBride, Martina
• Brad Paisley, Mud on the Tires
• George Strait, Honkytonkville

On an evening where he won several major awards, Keith picked up his second Album of the Year trophy from the ACMs for an album that included the #1  hits “American Soldier”, “Whiskey Girl”,  and “I Love This Bar.”

2003

• Kenny Chesney, No Shoes, No Shirt, No Problems
• Dixie Chicks, Home
• Alan Jackson, Drive
• Toby Keith, Unleashed
• Trick Pony, On a Mission

If you think all of those 2009 nominations for Heidi Newfield were surprising, check out Trick Pony’s presence in this category among four albums that sold more than 4 million copies each.  Alan Jackson picked up his third trophy in this category for the album that included “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”.

2002

• Brooks & Dunn, Steers & Stripes
• Toby Keith, Pull My Chain
• Tim McGraw, Set This Circus Down
• Soundtrack, O Brother, Where Art Thou?
• Travis Tritt, Down the Road I Go

Big comeback albums for Brooks & Dunn and Travis Tritt were nominated, but it was no surprise to see the victory go to the landmark soundtrack that sold more than eight million copies in the end.

2001

• Johnny Cash, American III: Solitary Man
• Billy Gilman, One Voice
• Toby Keith, How Do You Like Me Now?!
• Brad Paisley, Who Needs Pictures
• Lee Ann Womack, I Hope You Dance

Even Keith was a veteran in comparison to Gilman and Paisley, who were nominated with their debut albums, but the biggest surprise was the nomination of Cash for his third project with Rick Rubin. Even the CMA didn’t recognize those collaborations until the fourth volume and “Hurt.”

2000

• Asleep at the Wheel, Ride With Bob
• Dixie Chicks, Fly
• Faith Hill, Breathe
• George Jones, Cold Hard Truth
• Tim McGraw, A Place in the Sun

An impressively eclectic lineup is unsurprisingly represented by the consensus choice Dixie Chicks, the one act that everybody used to agree on.

1999

• Garth Brooks, Double Live
• Dixie Chicks, Wide Open Spaces
• Faith Hill, Faith
• Jo Dee Messina, I’m Alright
• George Strait, One Step at a Time

For the fourth time in the nineties, the trophy went to an artist’s breakthrough album.  After their shocking win at the Grammys a few weeks earlier, this Dixie Chicks victory wasn’t quite as surprising.

1998

• Garth Brooks, Sevens
• Patty Loveless, Long Stretch of Lonesome
• Tim McGraw, Everywhere
• George Strait, Carrying Your Love With Me
• Shania Twain, Come On Over

Strait’s third victory in this category tied him with Alabama for most wins.  It was also his first album to top the overall Billboard 200, a feat he’s repeated with three additional albums.

1997

• Brooks & Dunn, Borderline
• Tracy Lawrence, Time Marches On
• Patty Loveless, The Trouble With the Truth
• LeAnn Rimes, Blue
• George Strait, Blue Clear Sky

Strait’s victory came with an album that featured the #1 hits “Blue Clear Sky” and “Carried Away”, along with the rodeo-themed “I Can Still Make Cheyenne.”

1996

• Brooks & Dunn, Waitin’ On Sundown
• Patty Loveless, When Fallen Angels Fly
• Tim McGraw, All I Want
• George Strait, Lead On
• Shania Twain, The Woman in Me

Although Loveless won the CMA award the previous fall, the ACM sided with the Grammy winner for Best Country Album, Shania Twain’s landmark set, The Woman in Me.

1995

• Garth Brooks, In Pieces
• Mary Chapin Carpenter, Stones in the Road
• Vince Gill, When Love Finds You
• Alan Jackson, Who I Am
• Tim McGraw, Not a Moment Too Soon

McGraw’s only victory in this category came with his first nomination. This set remains his top-selling to date, thanks to the presence of the massive hits “Don’t Take the Girl”, “Indian Outlaw”, “Down on the Farm”, and the title track.

1994

• Brooks & Dunn, Hard Workin’ Man
• Billy Ray Cyrus, It Won’t Be the Last
• Vince Gill, I Still Believe In You
• Alan Jackson, A Lot About Livin’ (And a Little ‘Bout Love)
• Various Artists, Common Thread: The Songs of the Eagles
• Dwight Yoakam, This Time

Alan Jackson picked up his second victory in this category with an album that included “Chattahoochee”, which would remain his biggest hit for nearly a decade.

1993

• Garth Brooks, The Chase
• Brooks & Dunn, Brand New Man
• Mary Chapin Carpenter, Come On Come On
• Billy Ray Cyrus, Some Gave All
• Wynonna, Wynonna

These are some big selling albums. Wynonna and Mary Chapin Carpenter both sold five million and they are tied for last place among the nominees.  It’s easy to forget how fresh the Brooks & Dunn sound was when it first arrived on the scene.  Five hits, including the classic title track, “Neon Moon”, and “Boot Scootin’ Boogie”, helped power them to a win.

1992

• Garth Brooks, No Fences
• Garth Brooks, Ropin’ the Wind
• Alan Jackson, Don’t Rock the Jukebox
• Ricky Van Shelton, Backroads
• Travis Tritt, It’s All About to Change

In perhaps the most bizarre moment in this category’s history, Garth Brooks competed again with No Fences, which won the same award last year. Alan Jackson emerged victorious with his sophomore set.

1991

• Alabama, Pass it On Down
• Garth Brooks, No Fences
• Vince Gill, When I Call Your Name
• Alan Jackson, Here in the Real World
• Ricky Van Shelton, RVS III

No Fences includes the Garth Brooks classics “Friends in Low Places”, “Unanswered Prayers”, and “The Thunder Rolls”. It remains his highest-selling album to date, and second only to Shania Twain’s Come On Over among all single-disc country albums in history.

1990

• Clint Black, Killin’ Time
• Rodney Crowell, Diamonds and Dirt
• Kathy Mattea, Willow in the Wind
• Nitty Gritty Dirt Band, Will the Circle Be Unbroken? Vol. II
• Randy Travis, Old 8×10

The winning album demonstrates why Clint Black was the head of the Class of ’89, even though he’d soon be overshadowed by fellow newbie Garth Brooks.

1989

• Vern Gosdin, Chiseled in Stone
• K.T. Oslin, This Woman
• Ricky Van Shelton, Loving Proof
• George Strait, If You Ain’t Lovin’ You Ain’t Livin’
• Dwight Yoakam, Buenos Noches From a Lonely Room

K.T. Oslin dominated the awards circuit in 1988 and 1989, with her final victories coming at the ACM Awards.  Her Album of the Year winner included the #1 hit “Hold Me”, along with the top five hits “Hey Bobby” and the title track.

1988

• The Judds, Heart Land
• Dolly Parton, Linda Ronstadt, and Emmylou Harris, Trio
• George Strait, Ocean Front Property
• Randy Travis, Always and Forever
• Hank Williams Jr., Born to Boogie

The classic project by legends Dolly Parton, Linda Ronstadt, and Emmylou Harris also won a CMA for Vocal Event and a Grammy for Best Country Performance by a Duo or Group with Vocals.

1987

• The Judds, Rockin’ With the Rhythm
• Ricky Skaggs, Live in London
• George Strait, 7
• Randy Travis, Storms of Life
• Dwight Yoakam, Guitars, Cadillacs, Etc., Etc.

The neo-traditionalist movement at its peak, with a win by its standard-bearing artist with his standard-bearing debut album.

1986

• Alabama, 40 Hour Week
• Waylon Jennings, Willie Nelson, Johnny Cash, and Kris Kristofferson, Highwayman
• The Judds, Why Not Me
• George Strait, Does Fort Worth Ever Cross Your Mind
• Hank Williams Jr., Five-O

The only #1 hit from this album was the title track, but “The Fireman” and “The Cowboy Rides Away” have since become signature songs for the legendary artist.

1985

• Alabama, Roll On
• Earl Thomas Conley, Don’t Make it Easy On Me
• Ricky Skaggs, Don’t Cheat in Our Hometown
• George Strait, Right or Wrong
• Hank Williams Jr., Man of Steel

Their third victory in four years came on the strength of the hits “Roll On (Eighteen Wheeler)”, “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)”, “(There’s a) Fire in the Night”, and “When We Make Love.”

1984

• Alabama, The Closer You Get…
• John Anderson, Wild & Blue
• Merle Haggard, Going Where the Lonely Go
• Merle Haggard & Willie Nelson, Pancho & Lefty
• Ricky Skaggs, Highways & Heartaches

Over a field of traditionalists old and new, the pop-country supergroup Alabama won their second Album award. In addition to the hit title track, The Closer You Get… included the hits “Lady Down on Love” and “Dixieland Delight.”

1983

• Alabama, Mountain Music
• Willie Nelson, Always On My Mind
• Kenny Rogers, Love Will Turn You Around
• Ricky Skaggs, Waitin’ For the Sun to Shine
• Don Williams, Listen to the Radio

Nelson’s biggest single powered the album of the same name to victory. It also included a pair of #2 hits: “Last Thing I Needed First Thing This Morning” and “Let it Be Me.”

1982

• Alabama, Feels So Right
• Rosanne Cash, Seven Year Ache
• George Jones, Still the Same Ole Me
• Oak Ridge Boys, Fancy Free
• Dolly Parton, 9 to 5 and Odd Jobs

With the exception of George Jones, all the nominees here enjoyed significant pop success with these projects. Alabama won their first trophy in this category with Feels So Right, which included the hit title track, “Old Flame”, and their biggest crossover hit, “Love in the First Degree.”

1981

• Charley Pride, There’s a Little Bit of Hank in Me
• Kenny Rogers, Greatest Hits
• Soundtrack, Coal Miner’s Daughter
• Soundtrack, Urban Cowboy
• Don Williams, I Believe in You

For all that it’s been maligned, the Urban Cowboy soundtrack does have a lot of classic hits on it.  Some of them were recycled, like “Devil Went Down to Georgia” and “Lyin’ Eyes”, but some were introduced on the soundtrack, most notably Anne Murray’s “Could I Have This Dance” and Johnny Lee’s “Lookin’ For Love.”

1980

• Larry Gatlin, Straight Ahead
• Emmylou Harris, Blue Kentucky Girl
• Waylon Jennings, Greatest Hits
• Willie Nelson, Willie Sings Kristofferson
• Kenny Rogers, Kenny

Those of you wondering how on earth Larry Gatlin was the winner in this field should know that this was actually a platinum-selling album. Perhaps its big hit, “All the Gold in California”, endeared the project to west coast voters.

1979

• Ronnie Milsap, It Was Almost Like a Song
• Anne Murray, Let’s Keep it That Way
• Willie Nelson, Stardust
• Oak Ridge Boys, Y’All Come Back Saloon
• Kenny Rogers & Dottie West, Every Time Two Fools Collide

They had made several albums as gospel stars, but it was their first big country hit that fueled this win for Album of the Year.

1978

• Waylon Jennings, Ol’ Waylon
• Dolly Parton, Here You Come Again
• Elvis Presley, Moody Blue
• Kenny Rogers, Kenny Rogers
• Conway Twitty, Greatest Hits Vol. II

This self-titled album was renamed “Lucille” in later pressings to capitalize on its biggest hit.

1977

• Mickey Gilley, Gilley’s Smokin’
• Waylon Jennings, Willie Nelson, Jessi Colter, and Tompall Glaser, Wanted! The Outlaws
• Loretta Lynn, Somebody Somewhere
• Marty Robbins, El Paso City
• Conway Twitty, Now and Then

Gilley’s winning album features his most well known hit, “Don’t the Girls All Get Prettier at Closing Time.” It’s the most recent album in the category’s history that hasn’t reached at least gold status.

1976

• Glen Campbell, Rhinestone Cowboy
• Freddie Fender, Before the Next Teardrop Falls
• Merle Haggard, Keep Movin’ On
• Loretta Lynn & Conway Twitty, Feelins’
• Willie Nelson, Red Headed Stranger

This shared award is the only Album trophy that either Lynn or Twitty won from the ACM or CMA, though Lynn did go on to win Best Country Album three decades later at the Grammys.

1975

• John Denver, Back Home Again
• Merle Haggard, Merle Haggard Presents His 30th Album
• Loretta Lynn, They Don’t Make ‘Em Like My Daddy
• Cal Smith, Country Bumpkin
• Bob Wills, For the Last Time

Denver’s biggest country album, it spent thirteen weeks atop the country album chart. The title track topped the chart, and “Annie’s Song” became a wedding standard.

1974

• Merle Haggard, I Love Dixie Blues…so I Recorded “Live” in New Orleans
• Loretta Lynn, Love is the Foundation
• Charlie Rich, Behind Closed Doors
• Johnny Rodriguez, Introducing Johnny Rodriguez
• Conway Twitty & Loretta Lynn, Louisiana Woman, Mississippi Man

Rich’s classic set has sold four million copies, an unheard of tally for a country album from this time period. It didn’t hurt that the title track and “The Most Beautiful Girl” were crossover hits, with the latter actually topping the pop singles chart.

1973

• Mac Davis, Baby Don’t Get Hooked On Me
• Donna Fargo, The Happiest Girl in the Whole U.S.A.
• Merle Haggard, The Best of the Best of Merle Haggard
• Merle Haggard, It’s Not Love (But It’s Not Bad)
• Merle Haggard, Let Me Tell You About a Song
• Freddie Hart, Bless Your Heart

Donna Fargo triumphed in a field of six albums, half of which were recorded by Merle Haggard! The Fargo set produced two million-selling singles – the title track and “Funny Face”.

1972

• Merle Haggard, Hag
• Merle Haggard, Someday We’ll Look Back
• Freddie Hart, Easy Loving
• Ray Price, I Won’t Mention it Again
• Charley Pride, Charley Pride Sings Heart Songs

The title track was a massive hit, helping Hart’s Easy Loving reach gold status and spend nine weeks atop the country albums chart.

1971

• Glen Campbell, The Glen Campbell Goodtime Album
• Merle Haggard, The Fightin’ Side of Me
• Merle Haggard, A Tribute to the Best Damn Fiddle Player in the World (or, My Salute to Bob Wills)
• Ray Price, For the Good Times
• Charley Pride, Charley Pride’s 10th Album

Who knows how many times Haggard could’ve won this award if he wasn’t nominated against himself? This year, Ray Price’s For the Good Times was the victor, thanks to the Kristofferson-penned title track.

1970

• Glen Campbell, Live
• Johnny Cash, At Folsom Prison
• Merle Haggard, Okie From Muskogee
• Charley Pride, Best of Charley Pride
• Tammy Wynette, Greatest Hits

Haggard’s only victory in this category was for a live album. Incidentally, he won over two other live albums and a pair of greatest hits sets.

1969

• Glen Campbell, Wichita Lineman
• Bobbie Gentry & Glen Campbell, Bobbie Gentry & Glen Campbell
• Merle Haggard, The Best of Merle Haggard
• Merle Haggard, Mama Tried
• Buck Owens, Best of Buck Owens

Campbell won for the second year in a row, this time sharing the victory with Bobbie Gentry of “Ode to Billie Joe” fame.

1968

• Glen Campbell, Burning Bridges
• Glen Campbell, Gentle on My Mind
• Merle Haggard, Branded Man
• Merle Haggard, I’m a Lonesome Fugitive
• Wynn Stewart, It’s Such a Pretty World Today

California favorite Glen Campbell won the first ACM trophy in this category, and he’d remain a favorite of the Academy over the next decade.

Facts & Feats

Multiple Wins:

• (3) – Alabama, Alan Jackson, George Strait
• (2) – Glen Campbell, Dixie Chicks, Toby Keith

Most Nominations:

• (17) – Merle Haggard
• (12) – George Strait
• (7) – Garth Brooks, Glen Campbell, Willie Nelson
• (6) – Alabama, Tim McGraw
• (5) – Loretta Lynn, Brad Paisley, Kenny Rogers

Most Nominations Without a Win:

• (4) – Vince Gill, Waylon Jennings, Charley Pride, Ricky Skaggs
• (3) – Johnny Cash, Kenny Chesney, The Judds, Patty Loveless, Ricky Van Shelton, Hank Williams Jr., Dwight Yoakam

Albums that won the ACM Award and the CMA Award:

• Merle Haggard, Okie From Muskogee
• Charlie Rich, Behind Closed Doors
• Willie Nelson, Always on My Mind
• Alabama, The Closer You Get
• George Strait, Does Fort Worth Ever Cross Your Mind
• Garth Brooks, No Fences
• George Strait, Blue Clear Sky
• George Strait, Carrying Your Love With Me
• Dixie Chicks, Fly
• Soundtrack, O Brother Where Art Thou?
• Alan Jackson, Drive
• Brad Paisley, Time Well Wasted
• George Strait, It Just Comes Natural
• Taylor Swift, Fearless

Albums that Won the ACM award and the Grammy for Album of the Year:

• Soundtrack, O Brother Where Art Thou?
• Taylor Swift, Fearless

Albums that Won the ACM award and the Grammy for Best Country Album (only presented in 1965-1966 and 1995-present):

• Shania Twain, The Woman in Me
• Dixie Chicks, Wide Open Spaces
• Dixie Chicks, Fly
• George Strait, Troubadour
• Taylor Swift, Fearless

2010 ACM Nominations

Tuesday, March 2nd, 2010

You know the drill. For each of the categories, we’ll look at who’s broken in since last year, who’s been excused, and then make a totally judgy statement about what it all means.

Entertainer of the Year

• Kenny Chesney
• Toby Keith
• Brad Paisley
• George Strait
• Taylor Swift
• Carrie Underwood
• Keith Urban
• Zac Brown Band

Who’s In: Who isn’t?

Who’s Out: No one.

Snap Judgment: My best guess about the surprise expansion of this category is that ACM thinks the Oscars are onto something. They’re not. But while the Oscars risk having a Best Picture nomination lose some of its prestige, I don’t think the same quite holds true for ACM Entertainer, since an artist can already be nominated multiple times throughout a career anyway (and most are). So this could actually work, I guess. If nothing else, it’ll be interesting.

Top Male Vocalist of the Year

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

Who’s In: Darius Rucker

Who’s Out: Toby Keith

Snap Judgment: No surprises here; it’s the same pool the CMA picked this past fall.

Top Female Vocalist of the Year

• Miranda Lambert
• Reba McEntire
• Taylor Swift
• Carrie Underwood
• Lee Ann Womack

Who’s In: Reba McEntire

Who’s Out: Martina McBride

Snap Judgment: Martina shaft! Drama drama!

Top Vocal Group of the Year

• Lady Antebellum
• Little Big Town
• Randy Rogers Band
• Rascal Flatts
• Zac Brown Band

Who’s In: Zac Brown Band

Who’s Out: The Lost Trailers

Snap Judgment: I imagine Love And Theft’s and Gloriana’s managers will be spending the morning trying to figure out who the hell Randy Rogers Band is. Seriously, I don’t know how RRB keeps squeezing into this race. Not complaining, though!

Top Vocal Duo of the Year

• Brooks & Dunn
• Joey + Rory
• Montgomery Gentry
• Steel Magnolia
• Sugarland

Who’s In: Steel Magnolia

Who’s Out: Big & Rich

Snap Judgment: What’s this? Five duos who actually did something in the last year? Get outta here.

Top New Solo Vocalist of the Year

• Luke Bryan
• Jamey Johnson
• Chris Young

Who’s In: Chris Young, Luke Bryan (both re-entries from previous years)

Who’s Out: Jake Owen (won last year), James Otto

Snap Judgment: I’m just pretending this is the Top New Male category, since ACM’s annual changing around of award names and criteria can be kind of silly. This is going to be an interesting race to watch, especially since all three of these guys are nominated their second time here. It’s the last chance any of them will have to win it.

Top New Vocal Duo of the Year

• Bomshel
• Joey + Rory
• Steel Magnolia

Who’s In: This category was merged with New Vocal Group last year, so none of these duos (being duos) were there.

Snap Judgment: Seriously, doesn’t this whole “actually having semi-active vocal duos” thing kind of weird you out at this point? (P.S. Vote for Joey + Rory!)

Top New Vocal Group of the Year

• Eli Young Band
• Gloriana
• The Lost Trailers

Who’s In: Gloriana

Who’s Out: Zac Brown Band (won last year)

Snap Judgment: Love And Theft HQ must be a grim, grim place today.

Album of the Year

• Brad Paisley, American Saturday Night
• Lady Antebellum, Lady Antebellum
• Miranda Lambert, Revolution
• Carrie Underwood, Play On
• Zac Brown Band, The Foundation

Snap Judgment: Not a bad lineup, but the ACM’s lenience in the Album category never ceases to amaze. Lady Antebellum came out two full years ago.

Single Record of the Year

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

Snap Judgment: I’m used to scratching my head in this category. Whatever.

Song of the Year

• “Cowboy Casanova” – Mike Elizondo, Brett James & Carrie Underwood
• “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott
• “People Are Crazy” – Bobby Braddock & Troy Jones
• “White Liar” – Natalie Hemby & Miranda Lambert
• “You Belong With Me” – Liz Rose & Taylor Swift

Snap Judgment: …It’s like, do people even pay attention to lyrics anymore?

Video of the Year

• Randy Houser, “Boots On”
• Lady Antebellum, “Need You Now”
• Brad Paisley, “Welcome to the Future”
• Miranda Lambert, “White Liar”
• Taylor Swift, “You Belong With Me”

Snap Judgment: Actually not a bad pool. The Lady A video is pretty boring, though.

Vocal Event of the Year

• Blake Shelton feat. Trace Adkins, “Hillbilly Bone”
• Brooks & Dunn feat. Billy Gibbons, “Honky Tonk Stomp”
• Carrie Underwood feat. Randy Travis, “I Told You So”
• Kenny Chesney with Dave Matthews, “I’m Alive”
• Jack Ingram with Patty Griffin, “Seeing Stars”

Snap Judgment: Eh.

- – -

What are y’all’s thoughts?

Grammy 2010 Staff Picks & Predictions

Sunday, January 31st, 2010

Even in Grammy’s darkest hours, CU brings its picking powers!

- Superhero television show about our blog from the 50′s.

We won’t be live-blogging this time around, but will be reacting to the show in a full post tomorrow, and welcome your reactions in comments on this post. The awards telecast starts at 8 pm Eastern, and I imagine there will be some red carpet action in the hour prior.

Record of the Year

Picks

• Beyonce, “Halo” – Kevin
• Black Eyed Peas, “I Gotta Feeling”
• Kings of Leon, “Use Somebody” - Tara
• Lady GaGa, “Poker Face” - Dan
• Taylor Swift, “You Belong with Me”

Predictions

• Beyonce, “Halo”
• Black Eyed Peas, “I Gotta Feeling”
• Kings of Leon, “Use Somebody” – Kevin, Dan, Tara
• Lady GaGa, “Poker Face”
• Taylor Swift, “You Belong with Me”

Kevin: Am I wrong for preferring Eric Cartman’s rendition of “Poker Face” over the original? This is a pretty lightweight slate of contenders. I really like “Halo”, but I suspect Kings of Leon will win, simply because it’s the only rock song in a lineup of pop hits.

Dan: “Poker Face” just feels very representative of popular music in 2009. I wouldn’t whine if it got passed over so that “Bad Romance” could take this award next year, though.

Tara: I would’ve pulled for “Single Ladies” in a heartbeat had it been submitted, but “Use Somebody” is just as deserving of this award. It’s a fantastic song even outside the context of its moment in pop culture, and it’s the kind of larger-than-life song that the voters have picked to win in the past.

Album of the Year

Picks

• Beyonce, I Am…Sasha Fierce
• Black Eyed Peas, The E.N.D.
• Lady GaGa, The Fame – Kevin, Tara
• Dave Matthews Band, Big Whiskey and the Groogrux King
• Taylor Swift, Fearless - Dan

Predictions

• Beyonce, I Am…Sasha Fierce
• Black Eyed Peas, The E.N.D.
• Lady GaGa, The Fame
• Dave Matthews Band, Big Whiskey and the Groogrux King - Kevin
• Taylor Swift, Fearless - Dan, Tara

Kevin: I’d like to see dance music get some respect in the big category, even if there are a half-dozen Madonna albums at this point that would’ve been worthier winners than The Fame. Again, I think the Top 40 votes are going to be split, leaving Dave Matthews Band the winners.

Dan: In little over a year, Fearless has grown from success story to cultural artifact. It’s that rare pop album that seems to have a personality all its own, like Jagged Little Pill in a yellow sundress (and sung about as well). I could see anyone but the Peas taking this, but I think Swift’s support in both Nashville and the Top 40 crowd will take her to the top.

Tara: I have to say I was fairly shocked to see Swift’s truckload of Grammy nominations, so I’m having a little trouble wrapping my mind around the Academy’s thought process – but, I suppose a Swift win in this category is inevitable. However, I fully back Lady GaGa, who is the perfect storm of creativity, vision, swagger and raw vocal talent (remember that, pop world?). (more…)