Suzy Bogguss has been my favorite female vocalist for about 20 years now. The first time I heard her was on some TV show with Jerry Reed in 1991. She sang “Aces” and “Night Riders Lament” and I was hooked. Since then, I’ve seen her in concert about a dozen times from New York to Nashville and in-between. She still tours on her own in addition to her “Wine, Women and Song” shows with great songwriter friends Matraca Berg and Gretchen Peters. Suzy has done some writing herself having co-written 56 songs, including hits “Hey Cinderella” and “Just Like the Weather”.
Besides attending her shows, I have all her albums. In reviewing her 2007 album “Sweet Danger”, the bossman here at CU, Kevin Coyne said “the arrangements of the songs are subtle and low-key, allowing for the vocals to shine and the songs to work on their own merit, not through the bells-and-whistles of clever production”. I believe that Kevin’s statement could be applied to all of Suzy’s albums.
Suzy never throws away a lyric. You never have to guess at the words she sings. Back to Kevin again – In his review of her last single “In Heaven”, he said that “her voice is still as pure and clear as a mountain stream, and she instinctively knows the great truth about singing that too many women these days never learned: it’s not about power, it’s about sincerity”.
Chet Atkins was a big admirer of Suzy, saying “I don’t like hot dogs and I don’t like anchovies. I don’t like people who say there are too many guitar players in the world, and I especially don’t like singers who sneak up on their notes. But I like Suzy Bogguss…she is always in the tone center, her voice sparkles like crystal water, and she ain’t all that bad looking boys and girls–she’s only one of the best.”
As other writers in this series have mentioned, I found it difficult to get down to 25 songs. Suzy’s highest charting single, “Drive South”, didn’t make my list. Here are some of my favorite songs by Suzy Bogguss:
#25
“Shenandoah”
From the 2011 album American Folk Songbook
A beautiful rendition of a traditional American folk song said to date back to the early 19th century.
#24
“Nobody Love, Nobody Gets Hurt”
from the 1998 album Nobody Love, Nobody Gets Hurt
A Bobbie Cryner song about a would be robber who hands the girl behind the counter in a convenience store a note that he meant to say “Nobody Move, Nobody Gets Hurt”; he wrote “Nobody Love …”
#23
“Outbound Plane”
from the 1991 album Aces
Her current love has flown but she knows she’ll fall in love again in this Nanci Griffith and Tom Russell penned song.
#22
“Do Nothing Til You Hear From Me”
from the 2003 album Swing
Duke Ellington composed the music and Bob Russell wrote the lyrics for this song from the 40′s about not paying attention to rumors. Ray Benson produced the album.
#21
“When She Smiled at Him”
from the 1994 album Simpatico
A father daughter song, written by Michael Johnson and Joanie Beeson, that begins “he wasn’t prepared for a daughter, he thought how nice a son would have been, but she had her way with her father, when she smiled at him”. OK, it’s a sweet and sentimental song. Add a star if you have a daughter. I do.
#20
“Somebody to Love”
from the 1998 album Nobody Love, Nobody Gets Hurt
Her last single to crack the country top 40 was written by Matraca Berg, Suzy & hubby Doug Crider. The girl is brokenhearted and wants somebody cause the night is long. But “she’s got to be tough and hold out honey cause, what you really want is somebody to love”.
#19
Diamonds and Tears
from the 1993 album Something Up My Sleeve
In an article Kevin wrote on Matraca Berg, he said the song was “Berg’s finest philosophical moment, a reflection on how the journey of life is its own destination. Even lost love is a form of “higher education”: “I have said and heard the word ‘goodbye’, felt the blade and turned the knife sideways. But I crossed bridges while they burned, to keep from losing what I’ve learned along the way.” The song was co-written by Gary Harrison.
#18
“I Heard the Bells on Christmas Day”
from the 2001 album Have Yourself a Merry Little Christmas
The song is based on the Longfellow poem, “Christmas Bells”, which was written on Christmas Day 1864, a few months before the end of the Civil War. Verse two expresses despair that there’s no peace on earth. In verse three, joy triumphs: “then pealed the bells more loud and deep, God is not dead, nor doth he sleep, the wrong shall fail, the right prevail, with peace on earth, good will to men.”
#17
“In Heaven”
from the 2007 album Sweet Danger
Solely written by Doug Crider, who has written 184 songs, this song always gets to me. Since I can’t think of a better way to say it (how’s that for sucking up?), I’ll quote Kevin again from his review noted above: “As Bogguss asks her deceased husband for his blessing on the new love she has found, all of the shades of emotion are there in her multi-layered performance: fear, apprehension, guilt, joy, sorrow. You can feel the conflict inside of her character as she sings every line.”
#16
“Goodnight”
from the 1999 album Suzy Bogguss
This Charlie Black and Dana Hunt song is a perfect fit for my playlists of songs mentioning a U.S. city or state. The woman is trying to get back with her lover, but keeps just missing him. The chorus goes “So goodnight Raleigh, goodnight Durham, goodnight Atlanta and Macon and Jacksonville, Live from high atop the hood of my car, I’m signing off, sweet dreams baby, wherever you are”.
#15
“She Said, He Heard”
from the 1996 album Give Me Some Wheels
A song Suzy wrote with Don Schlitz about the different planets men and women sometimes occupy. “She said ‘I’m mad’, he heard ‘I’m leaving’, she said ‘I’m sad’, he heard ‘It’s all your fault’.”
#14
“How Come You Go to Her”
from the 1992 album Voices in the Wind
A what’s she got that that I ain’t got song from Anthony Smith, Michael Garvin and Suzy. “You said it was heaven in my arms, so how come they ain’t holding you.”
#13
“Cold Day in July”
from the 1992 album Voices in the Wind
“You always said that the day you’d leave me, would be a cold day in July”. I love the Dixie Chicks but Suzy’s earlier recording of this Richard Leigh song from 1981 blows them out of the water.
#12
“Just Like the Weather”
from the 1993 album Something Up My Sleeve
Her man is thinking about leaving, so she uses the changeability of the weather as a metaphor to convince him to stay and tough it out. A Bogguss-Crider writing collaboration that resulted in a top ten hit.
#11
“I Want to Be a Cowboy’s Sweetheart”
from the 1989 album Somewhere Between
Suzy’s cover of Country Music Hall of Famer Patsy Montana’s signature song first released in 1935. Love Suzy’s yodeling.
#10
“Saying Goodbye to a Friend”
from the 1996 album Give Me Some Wheels
A song from Angela Kaset and Doug Gill about trying to get over the loss of a loved one. Lines like “These little things that shouldn’t matter, make something inside me shatter” and “like a scene in a rearview mirror, I thought I’d got past it, now I’m looking at it again” reflect the singer’s state of mind.
#9
“Handyman’s Dream”
from the 1989 album Somewhere Between
A bouncy Gary Nicholson-Pam Tillis tune about potential as expressed by lines like: “I’m a little rundown from lack of attention, but my possibilities are too numerous to mention” and “I need a man who’s not afraid to roll up his sleeves, If you could only picture what the end result will be”. Hmm.
#8
“Someday Soon”
from the 1991 album Aces
An Ian Tyson classic, first recorded in 1964. The woman’s problem: “He loves his damned old rodeo as much as he loves me.” Today her problem would more likely be playing golf or watching football.
#7
“Letting Go”
from the 1991 album Aces
A song from hubby Doug and Matt Rollings that parents sending their kids off to college for the first time can appreciate. I speak from first hand experience.
#6
“Eat at Joe’s”
from the 1992 album Voices in the Wind
In this Berg-Harrison tune about a waitress in an all night diner, Suzy’s sounds a bit sassy as she sings “here’s a hot top on your coffee, honey you’re a mess, I ain’t your wife, I ain’t your momma, but I’ll do I guess”.
#5
“It’s Not Gonna Happen Today”
from the 2007 album Sweet Danger
Kevin’s comment: “Bogguss co-wrote one of the strongest tracks on the album, the dark and despondent “It’s Not Gonna Happen Today.” It finds the narrator hiding out in her house on an autumn afternoon, with the leaves piling up outside. “I don’t really want to face all the things I’ve left undone,” she confesses. “At least a thousand things…maybe only one.” Suzy’s co-writers were Greg Barnhill and Doug Crider.
#4
“Night Rider’s Lament”
from the 1989 album Somewhere Between
There’s low pay and no advancement so why does this cowboy ride and rope for his living in this Michael Burton song? The end of the chorus provides the answer to the suggestion that “he must have gone crazy out there”:
But he’s never seen the Northern Lights
Never seen a hawk on the wing
He’s never seen Spring hit the Great Divide
And never heard Ol’ Camp Cookie sing.
Suzy’s yodeling at the end is awesome.
#3
“Something Up My Sleeve”
from the 1993 album Something Up My Sleeve
A duet with Billy Dean penned by Suzi Ragsdale and Verlon Thompson. The relationship isn’t working out for either party but neither one wants to leave. Suzy sings the first verse and Billy the second. In the third verse they alternate lines, Suzy then Billy responding. In the fourth verse, they again alternate, Billy with Suzy answering. They end together singing “I wish I had the power to make us both believe, I wish I had something up my sleeve.” Both contribute equally, a true duet, and their voices, Suzy’s soprano and Billy’s baritone, go so well together.
#2
“Hey Cinderella”
from the 1993 album Something Up My Sleeve
The fantasy of the first two verses turns into “dreams that lost their way” by the end of the third verse. The chorus begins “Hey Cinderella” and ends with the question “Does the shoe fit you now?” In the song’s second half, reality has totally set in. There’s talk of compromising and coming to terms with our vanity. Suzy co-wrote the song with Berg and Harrison.
#1
“Aces”
from the 1991 album Aces
Writer Cheryl Wheeler once explained that the song is about 3 persons. A and the singer, B, are former lovers. A introduces B to C and the latter two get together. A and C were also former lovers. B is singing to A who complained about B and C getting together. Hence, she sings “you can’t deal me the Aces and think I wouldn’t play.”
Since the lyrics do not mention this third party, C, another interpretation could be that of mentor and protege. The former trains the latter and makes her a star but never wants to relinquish control. (Porter and Dolly?) Lines like “you feel undermined and hurt again” and “compromise and realize you can never really run every thing you start” could fit this second scenario. This has been how I always interpreted the lyrics. Cheryl’s explanation can be found on her website.
Chet Atkins had many disciples, not the least of whom was Steve Wariner. Steve was a major country star and chart presence from 1980-1994 with scattered success both before and after his peak years.
Steve grew up listening to his father’s record collection which included some Merle Travis and everything Chet Atkins recorded. After tours with Dottie West and Bob Luman, Steve signed with RCA as a recording artist and became a friend and student of Chet Atkins. Steve has won many awards and honors but the award of which he is most proud was being awarded the Certified Guitar Player designation by Chet (the only others were Tommy Emmanuel, Jerry Reed and John Knowles).
Guitar Laboratory is a sequel of sorts to his previous album, My Tribute To Chet Atkins, released in 2009 . This album is no stubborn copy or pastiche of Chet’s style but represents a tribute to the spirit of Chet Atkins, covering a wide range of styles and tempos. While I wouldn’t describe this album as a country album, it does contain some country (“Sugarfoot Rag”) as well as some jazz (“A Groove”), some rock (“Telekinesis”), some blues (“Crafty”), some folk/bluegrass (“Up A Red Hill”) and even some Hawai’ian (Waikiki ’79) On some songs such as “Crafty” and “Kentuckiana” Steve sounds very much like Chet; however , on other tracks, not quite so much.
Steve enlists several guest pickers on the album who acquit themselves admirably. Steve is joined on “Sugarfoot Rag” by legendary guitarist Leon Rhodes, a long-time Opry Band member and former member of Ernest Tubb’s Texas Troubadours. Paul Yandell, a long-time associate and musical compadre of Chet’s, joins in on “Pals” and Steve’s son Ryan Wariner shows his musical chops on the rocking “Sting Ray”. The review copy of the album did not include any notes so I am not sure of the identity of any background musicians such as the accordionist and violinist on “I Will Never Forget You (Je Ne T’oulbieri Jamais)” or the trumpeter on “Phyllis and Ramona”, but suffice it to say they are all excellent.
All songs on this album, except “Sugarfoot Rag” were written by Steve Wariner (“Sugarfoot Rag” of course was written by guitar legend Hank Garland). There’s something for everyone on this all instrumental collection, and while I generally prefer vocal albums, I’ve listened to this album five times through thus far, although I’ve played my two favorite tunes “Sugarfoot Rag” and “Up a Red Hill” far more often than that.
Sometimes the choices that you make linger forever. Here, a woman in her thirties drives past a high school football game, and her mind wanders to the painful void left in her heart from the son she gave up for adoption. – Kevin Coyne
Faith Hill’s sophomore album is a surprisingly deep set, filled with candid insights into different womens’ lives. The title track represents that approach well, with Hill’s protagonist speaking to the differences in her approach to love and her partner’s. Seems simple, but then again, people spend thousands in couples counseling trying to find a way to voice feelings this directly. – Dan Milliken
#323
She’d Give Anything Boy Howdy
1993 | Peak: #4
A not-so-subtle depiction of how elusive true love can be for some women – even those who desperately seek it – that resonates not despite of but because of its blatancy. There’s a beautiful honesty to the song’s precise articulation of the mixture of frustration and strength that builds up within these women. – Tara Seetharam
#322
The Trouble With the Truth Patty Loveless
1997 | Peak: #15
The trouble with the truth is that is just so demanding. We think we want it, but it often requires some sort of action from us once we have it. Loveless struggles with this quandary: “The trouble with the truth is it always begs for more. That’s the trouble with the truth.” – Leeann Ward
#321
Still Gonna Die Old Dogs
1999 | Peak: Did Not Chart
Waylon Jennings, Mel Tillis, Bobby Bare, and Jerry Reed united for an amazing live album dominated by Shel Silverstein songs. For anyone who read his brilliant poetry books for children, “Still Gonna Die” is the golden years equivalent: clever, frightening, and darkly hilarious. KC
An apology via a wanted ad could be disastrous in the hands of many male country artists, but it’s simply lovely in Jacksons’, ringing with sincerity and regret. – TS
#319
Finish What We Started Diamond Rio
1995 | Peak: #19
From the first strains of the song, we know this is going to be a dark one. While he hasn’t physically cheated yet, the thoughts of at least wishing to do so are spilling over, which begs the analogy of “It’s like trying to hide a fire in the dark.” – LW
#317
She is Gone Willie Nelson
1996 | Peak: Did Not Chart
As in his classic recording of “Blue Eyes Crying in the Rain”, Nelson’s sad remembrance of a lost love glows with unspoken warmth, as the beauty of his good memories shines through the outer layer of melancholy. – DM
As deft a take down of a departing lover there’s ever been. Not since “You’re So Vain” has a jilted lover struck back so powerfully by simply holding up a mirror. – KC
#314
Till I Found You Marty Stuart
1991 | Peak: #12
Presenting the perfect Country & Western song! This is a great David Allan Coe cover with some alterations, including the exclusion of a stanza (which does water down the song a bit), changes to the spoken part, and additions of some special guests. – LW
#311
Wine Into Water T. Graham Brown
1998 | Peak: #44
A kneeling drunkard’s plea for the modern age. A broken man struggling with his alcoholism asks Jesus to perform His first miracle in reverse. Brown’s rough and tumble voice is the best possible fit for this fine composition.- KC
#310
High Powered Love Emmylou Harris
1993 | Peak: #63
The added punch to the production shows that Harris could do nineties country as well as anybody on the radio back then, which is quite the compliment, given who was getting airplay in 1993. A perfect lament for a lover who won’t settle for skin deep treasures, she wonders, “Is there anyone left with teeth just a little uneven? Who won’t spend more time with a mirror than he does with me?” – KC
#309
You Won’t Ever Be Lonely Andy Griggs
1998 | Peak: #2
Griggs creates a touching ballad out of one of the sweetest, simplest promises that comes with making a commitment to someone – that no matter the storm outside, you’ll never have to face it alone. – TS
Instead of serving as a means to shut the other person out, the door that Tippin is suggesting is for the purpose of letting the other person in. “a door ain’t nothin’ but a way to get through a wall”, he sings. If they work together to create it, then they might be able to walk through it to meet each other halfway. – LW
Suzy Bogguss takes this Ian Tyson cowboy folk song and makes it her own. She successfully breathes emotion into this wistful song that, once again, pits woman against rodeo. – LW
Built on a poignantly written metaphor, “The River” gracefully weaves together elements of faith, inspiration and motivation. It’s a masterful single, from its poetic lyrics to its beautifully simplistic arrangement, but the heart and soul is Brooks’ gripping conviction – quiet yet fierce. On a personal note, this song contains one of my all-time favorite lyrics that I often revisit: “So don’t you sit upon the shoreline and say you’re satisfied/Choose to chance the rapids and dare to dance the tide.” – TS
Blessings are fleeting, and they’re best appreciated in the moment. It’s far more satisfying to celebrate them without the bittersweet tinge of regret. – KC
#304
You Can’t Stop Love Marty Stuart
1996 | Peak: #26
McGraw’s character leaves behind a lifelong love interest and a little home town to explore the world. But instead of getting good closure, the poor guy starts seeing the girl he left in every place he visits, even long after she has married and had children. That these visions could feasibly represent both unresolved romantic feelings and the inescapable imprint of one’s roots is just country-delicious. – DM
#302
You’re Beginning to Get to Me Clay Walker
1998 | Peak: #2
Walker’s falling head first for a girl, but he isn’t ready to take the plunge with the L-word just yet. In his catalogue of fabulous 90s hits, this understated “love” song gets overshadowed by some of the more distinct ones, but it’s nonetheless memorable. – TS
Travis Tritt is one of few country artists who is as known for his rocking side as he is for being a strong balladeer. “Help Me Hold on” is a plea to his lover to help him salvage what’s left of their relationship, which doesn’t seem to be much, since she’s already packing a suitcase. – LW
On Wednesday, February 4, the Country Music Hall of Fame will announce its newest members. The genre’s highest honor, induction into the Hall of Fame is bestowed upon the absolute best of country music. In 1996 the CMHOF developed a set of categories to sort candidates, an effort intended to recognize the great breadth of the genre.
The Hall will admit three new members in 2009, one each from the following categories:
Recording and/or Touring Musician Active Prior to 1980
Performer, career achieved national prominence between WWII and 1975
Performer, career achieved national prominence between 1975-current
Below are six living Country Music Hall of Fame candidates that deserve induction in 2009.
While the Grammys have honored country music from the very first ceremony in 1959, they did not begin honoring by gender until 1965, when the country categories were expanded along with the other genre categories. This year, the 45th trophy for Best Male Country Vocal Performance will be awarded.
In a continuation of our Grammy Flashback series, here is a rundown of the Best Country Vocal Performance, Male category. It was first awarded in 1965, and included singles competing with albums until the Best Country Album category was added in 1995. When an album is nominated, it is in italics, and a single track is in quotation marks.
As usual, we start with a look at this year’s nominees and work our way back. Be sure to vote in My Kind of Country’sBest Male Country Vocal Performance poll and let your preference for this year’s race be known!
2009
Trace Adkins, “You’re Gonna Miss This”
Jamey Johnson, “In Color”
James Otto, “Just Got Started Lovin’ You”
Brad Paisley, “Letter to Me”
George Strait, “Troubadour”
As with the album race, this year’s contenders for Best Male Country Vocal Performance are a combination of unrecognized veterans and promising newcomers. In fact, none of this year’s nominees have won in this category, and only one of them – Brad Paisley – has a Grammy at all.
First, the veterans. Paisley has numerous ACM and CMA victories to his credit, including two each for Male Vocalist. Although he’s been nominated for this award twice before, this is the first time he’s contended with a cut that can’t be dismissed as a novelty number. The touching self-penned “Letter to Me” is his best shot yet at taking this home.
Trace Adkins has been at this a bit longer than Paisley, but this is his first Grammy nomination. His crossover exposure from Celebrity Apprentice might help him out here, along with the fact that the song was considered strong enough by voters to earn a nomination of its own.
But the real veteran to watch out for is George Strait. After being nominated only twice for this category in the first 25 years of his career, voters have now given him three consecutive nominations. This is one of four nods he’s earned for the 2009 ceremony, and “Troubadour” is essentially the story of his epic career distilled into a radio-length song. It would be the perfect way to honor the man and his music in one fell swoop.
However, there’s a newcomer that might be a Grammy favorite already. We just haven’t found out yet. Not James Otto, of course, who is nominated for his charming romantic romp “Just Got Started Lovin’ You”, but rather, Jamey Johnson. The recent Nashville Scene critics’ poll further confirmed the depth of his support among tastemakers, and his nominations for Best Country Song and Best Country Album indicate that he’s very much on the academy’s radar. It helps that he has the most substantial track of the five, and it’s the obvious choice for traditionalists, who have little reason to split their votes in this category. If voters aren’t considering legacy when making their selections, he has a great shot at this.
2008
Dierks Bentley, “Long Trip Alone”
Alan Jackson, “A Woman’s Love”
Tim McGraw, “If You’re Reading This”
George Strait, “Give it Away”
Keith Urban, “Stupid Boy”
The often offbeat Grammy voters have been surprisingly mainstream in this category for the past three years, a trend best exemplified by this lineup, which was the first in more than a decade to feature only top ten radio hits. Tim McGraw and Keith Urban were the only two who had won this before, and it was Urban who emerged victorious. ”Stupid Boy” was a highlight of his fourth studio album, and this was the only major award that the impressive collection would win.
2007
Dierks Bentley, “Every Mile a Memory”
Vince Gill, “The Reason Why”
George Strait, “The Seashores of Old Mexico”
Josh Turner, “Would You Go With Me”
Keith Urban, “Once in a Lifetime”
Vince Gill returned to win in this category for a ninth time with “The Reason Why.” Not only is he, by far, the most honored artist in this category, his wins here account for nine of the nineteen Grammys currently on his mantle.
2006
George Jones, “Funny How Time Slips Away”
Toby Keith, “As Good As I Once Was”
Delbert McClinton, “Midnight Communion”
Willie Nelson, “Good Ol’ Boys”
Brad Paisley, “Alcohol”
Keith Urban, “You’ll Think of Me”
Urban’s biggest and probably best hit launched his second album to triple platinum and established him as a crossover artist. He gave a killer performance of the song on the show. Toby Keith was a first-time nominee here, and while he publicly groused that the Grammys put too little emphasis on commercial success in picking their nominations, he lost to the only track that was a bigger hit than his own.
Earlier this year, the Grammys celebrated their fiftieth anniversary with a series of compilations focusing on winners in different fields. Two of the best entries in this series focused on country music. With five decades of winners to choose from, it’s no surprise that Ultimate Grammy Collection: Classic Country and Ultimate Grammy Collection: Contemporary Country are solid collections.
The Classic Country set is particularly strong, including a diverse selection of significant artists from the sixties and seventies. Even better, most of them are represented with their signature tracks. Roger Miller opens the set with “King of the Road”, easily his biggest hit. Other superstars include Tammy Wynette (“Stand By Your Man”), Johnny Cash (“A Boy Named Sue”) and Waylon & Willie (“Mammas Don’t Let Your Babies Grow Up to Be Cowboys.”)
As the collection moves on to the seventies and eighties, there is a healthy portion of pop-country classics from the likes of Kenny Rogers (“The Gambler”), Dolly Parton (“9 to 5″), Crystal Gayle (“Don’t it Make My Brown Eyes Blue”) and Willie Nelson (“Always on My Mind”). In the midst of that crossover sound, however, there’s a healthy dose of traditional country, courtesy of George Jones with “He Stopped Loving Her Today.”
That Jones track is the only one that wouldn’t be familiar to fans that buy the set because they remember those crossover hits, even though it’s a country classic. They might also revel in the discovery of Ray Price (“For the Good Times”) and Jerry Reed (“When You’re Hot, You’re Hot”), which were both AM radio staples back when top 40 regularly played country records. The set also includes mega-hits from Charlie Daniels Band, Lynn Anderson, Donna Fargo and Jeannie C. Riley. The only real misstep is the inclusion of Johnny Cash & June Carter’s “If I Were a Carpenter”, an unnecessary inclusion that was no doubt shoehorned in because of lingering sentiment for all things Cash. That slot would’ve been better represented with Conway Twitty and Loretta Lynn’s “After the Fire is Gone.”
The CMA Awards should be the evening every year where country music is shown in the best possible light. However, it’s been many years now since the CMA fully took advantage of the opportunities that prime-time slot presents. Here are ten ways the show can get back on track, and maybe even be better than ever.
1. Expand the Ballot
Limiting the second ballot to only twenty entries per category was a disaster, resulting in some truly lackluster nominees. Take a page from the Grammy playbook and put all eligible submissions on the second ballot, regardless of vote total. Have the CMA voters choose five entries from a wider swath of nominees, and create a more level playing field for all of the labels, major and indie.
2. Limit the Number of Entries per Artist
The CMA can go one step further and improve the Grammy model by eliminating the first ballot entirely, and allowing each artist to submit only one entry, of their choice, for consideration. This will help avoid embarrassments like we saw this year, where Alan Jackson was represented in the Song of the Year category by “Good Time” instead of “Small Town Southern Man.”
3. Tighten up the Categories
Take the long-clamored for step of combining Vocal Duo & Vocal Group into one category. Limit to one the nominations an artist can get in the “New Artist/Horizon” category. Amend the antiquated Song of the Year loophole that allows a song to be nominated two years in a row.
4. Add Live Performance and Songwriter, Artist-Songwriter Categories
Eliminate the confusion caused by the Entertainer category, which has unfortunately morphed into a “biggest tour” award in the post-Garth era, by adding a Live Performance category. This will help focus voter attention on all dimensions of the Entertainer category. Create two new categories for songwriters - Songwriter of the Year and Artist-Songwriter of the Year. With artists and musicians already being honored individually, equivalent recognition for writers is long overdue. Create the separate categories to ensure that high-profile writers like Alan Jackson, Brad Paisley or Taylor Swift don’t overwhelm non-artist songwriters in the same category.
5. Move the Show Back to the Opry House
The scale of an arena is a total mismatch for a televised award show. The CMA Awards always sounded great in the Opry house, and it connects the show back with its own history and that of country music. If the show must be kept downtown, move it to the Ryman.
10:57 If I was a petty man, I’d be gloating about out-predicting all of my co-writers at Country Universe. Wait a minute. I am a petty man. I won! Yes! I won! This country universe is mine. Y’all just live in it. Suckers. (Except for you Leeann. You didn’t get all up in my grill, talking smack before the throwdown. You’re cool.)
10:56 ENTERTAINER – Kenny Chesney
10:54 Standing O for Shania. Good God, she’s beautiful. Welcome home.
10:50 So the only artist I see live who charges Eagles prices is Madonna, and I have to say that if she just stood there and growled, I’d feel ripped off. Come on, guys. Slap on some heels. Throw in some synchronized dancing. Jump some rope. Rub up against something. You’re supposed to be legends.
10:49 Dan:Once again, a washed up rock act gives us one of the better performances of the night. I like the Eagles, but that’s sad.
10:48 You know it’s bad when you’re hoping that Shania’s the surprise guest because you want to see some real country stars.
10:46 Paisley’s right about that. The Eagles have a lot more to do with country music today than most seventies country stars.
For a look back at the other major categories, visit our CMA Awards page.
2010
Dierks Bentley
Brad Paisley
Blake Shelton
George Strait
Keith Urban
Bentley and Shelton have never won, but they’re up against Strait, who has won five times, and Paisley and Urban, who’ve won three times each. With the balance of commercial and critical success not significantly different across the category, this race could bring the night’s biggest surprise. But whatever happens, kudos to Paisley for earning his tenth nomination, and Strait for earning his twenty-fifth!
2009
Kenny Chesney
Brad Paisley
Darius Rucker
George Strait
Keith Urban
Just like in the Entertainer category, 80% of this race for the past three years had been Kenny Chesney, Brad Paisley, George Strait, and Keith Urban. This year, Darius Rucker took the fifth slot that was occupied by Alan Jackson in 2008 and Josh Turner in 2007. Brad Paisley went on to win his third Male Vocalist prize.
2008
Kenny Chesney
Alan Jackson
Brad Paisley
George Strait
Keith Urban
After so many years on the sidelines, Paisley began to dominate the category, scoring his second consecutive Male Vocalist award. Meanwhile, Kenny Chesney tied Willie Nelson for most nominations without a win, though his seventh loss was accompanied by his fourth win for Entertainer.
2007
Kenny Chesney
Brad Paisley
George Strait
Josh Turner
Keith Urban
This was the year that Brad Paisley finally won, with his seventh nomination in eight years. The stars aligned for him, with a very successful tour, a new album that is selling strongly, and a continued hot streakat radio that was nearly unmatched. He still hasn’t had a single miss the top ten since “Me Neither” in 2000, a claim that even radio favorites like George Strait, Toby Keith, Brooks & Dunn, Tim McGraw and Rascal Flatts can’t call their own.
2006
Dierks Bentley
Kenny Chesney
Alan Jackson
Brad Paisley
Keith Urban
Urban became the first artist to win Male Vocalist three years in a row since George Strait did it in 1996-1998, right after Vince Gill’s 1991-1995 run. His acceptance letter, read by Ronnie Dunn, was the emotional highlight of the evening’s show.
2005
Kenny Chesney
Alan Jackson
Brad Paisley
George Strait
Keith Urban
No surprises here, as another multi-platinum year full of radio hits and a high-profile appearance at Live 8 kept Urban fresh on voter’s minds. The big shock was him walking away with Entertainer of the Year later that night.
2004
Kenny Chesney
Alan Jackson
Toby Keith
George Strait
Keith Urban
Urban hadn’t even been nominated for any CMA Awards in 2002 and 2003, after winning Horizon in 2001, but he came back with a bang, taking home Male Vocalist of the Year over the four other superstars in the category. He joined Chesney as the only other man in the running who had never won before; Chesney got the wonderful consolation prizes of Entertainer and Album of the Year the same night.
2003
Kenny Chesney
Alan Jackson
Toby Keith
Tim McGraw
Brad Paisley
George Strait
Things were getting tight in this category in 2003, with so many worthy contenders that ties resulted in six nominees, instead of the usual five. Still, voters chose to stick with last year’s winner, Alan Jackson, a sure indicator of his enduring popularity among CMA voters.
2002
Kenny Chesney
Alan Jackson
Toby Keith
Brad Paisley
George Strait
The other four men were merely placeholders, there to create a list around the obvious winner, Alan Jackson. As he swept the awards on the strength of his post-9/11 “Where Were You” and autobiographical “Drive”, the only real shock was that he was winning Male Vocalist for the first time, a result of the ridiculously slow turnover in this category during the 1990′s.
2001
Alan Jackson
Toby Keith
Tim McGraw
Brad Paisley
George Strait
Toby Keith has been a vocal critic of the CMA because he feels they’ve overlooked him, but he’s been up against some tough competition, with his popularity peaking at the same time that Alan Jackson, Kenny Chesney and Keith Urban were making a huge impact on the charts and at the CMA’s. Thankfully, he’s at least won in this category, so he won’t go down in history with Willie Nelson and Conway Twitty as one of the best male singers to never win it.
2000
Vince Gill
Alan Jackson
Tim McGraw
Brad Paisley
George Strait
On the same evening that his wife was crowned Female Vocalist, McGraw walked away with his second consecutive Male Vocalist award.
1999
Vince Gill
Alan Jackson
Tim McGraw
George Strait
Steve Wariner
Early on in his career, when McGraw was selling tons of records but being excluded from this category, he humbly said that he didn’t think he was a good enough singer to be nominated. His talents grew over the years, and he finally won in 1999.
1998
Garth Brooks
Vince Gill
Tim McGraw
Collin Raye
George Strait
Strait matched Vince Gill’s record of five wins in this category, defeating Gill and three other nominees who had yet to win in the category.
1997
Vince Gill
Alan Jackson
Collin Raye
George Strait
Bryan White
With no turnover in the category from the previous year, Strait won for the fourth time, again defeating his fellow mega-winner Gill, and three other stars who had never won before.
1996
Vince Gill
Alan Jackson
Collin Raye
George Strait
Bryan White
Jackson was already long overdue, and Collin Raye and Bryan White broke into the category for the first time. Nobody expected Gill to win for the sixth year in a row, but many were surprised to see former two-time winner George Strait collect a Male Vocalist award for the first time in ten years.
1995
John Berry
Vince Gill
Alan Jackson
John Michael Montgomery
George Strait
Even Gill was expecting to lose, so when his name was called out for the fifth year in a row, he was gamely applauding backstage for the winner, before suddenly realizing it was him and rushing out to the stage.
1994
John Anderson
Vince Gill
Alan Jackson
George Strait
Dwight Yoakam
Vince won for the fourth year in a row, even though fellow nominees John Anderson, Alan Jackson and Dwight Yoakam were seen as likely spoilers.
1993
John Anderson
Garth Brooks
Vince Gill
Alan Jackson
George Strait
Vince not only won his third Male Vocalist award this year, he also took home four other awards: Entertainer, Album, Song and Vocal Event.
1992
Garth Brooks
Joe Diffie
Vince Gill
Alan Jackson
Travis Tritt
A bunch of hot young stars dominated the ballot this year, with Gill emerging triumphant for the second time. Though they would continue to score hits for many years, Joe Diffie and Travis Tritt received their only nominations to date in this category.
1991
Clint Black
Garth Brooks
Vince Gill
Alan Jackson
George Strait
After Garth swept the ACM’s earlier that year, he was expected to do the same at the CMA’s, and he came close, winning Entertainer, Single and Album. But industry favorite Vince Gill took home Male Vocalist, an award that Garth Brooks would never receive, though he would win Entertainer a record four times.
1990
Clint Black
Garth Brooks
Rodney Crowell
Ricky Van Shelton
George Strait
For the second year in a row, the previous year’s Horizon winner took home Male Vocalist. Clint Black won easily over very distinguished competition.
1989
Rodney Crowell
Ricky Van Shelton
George Strait
Randy Travis
Keith Whitley
After winning Horizon in 1988, platinum-selling Ricky Van Shelton graduated into a Male Vocalist winner only one year later. Keith Whitley received a posthumous nomination; he won Single of the Year that same evening.
1988
Vern Gosdin
Ricky Van Shelton
George Strait
Randy Travis
Hank Williams, Jr.
It’s hard not to wince at the knowledge that the peerless Vern Gosdin only received one nomination in this category, but there was no stopping Travis from collecting his second win.
1987
George Jones
Ricky Skaggs
George Strait
Randy Travis
Hank Williams, Jr.
In a lineup that was a traditionalist’s dream, new star Randy Travis took home the trophy. At the time, he was breaking sales records, enjoying a quadruple-platinum studio album in Always & Forever.
1986
George Jones
Gary Morris
George Strait
Randy Travis
Hank Williams, Jr.
Strait won his second consecutive Male Vocalist award on the strength of another huge year at radio and retail.
1985
Lee Greenwood
Gary Morris
Ricky Skaggs
George Strait
Hank Williams, Jr.
George Strait won the first of a record-matching five Male Vocalist awards, also taking home Album of the Year that same evening.
1984
Lee Greenwood
Merle Haggard
Gary Morris
Ricky Skaggs
George Strait
Greenwood’s Vegas vocals won him the award for the second time.
1983
John Anderson
Lee Greenwood
Merle Haggard
Willie Nelson
Ricky Skaggs
Greenwood looks pretty shabby against these other four nominees, taking home Male Vocalist in the same year Janie Fricke won for Female Vocalist. Is there a year in the history of the CMA’s where the winners of those two categories were collectively less impressive?
1982
Merle Haggard
George Jones
Ronnie Milsap
Willie Nelson
Ricky Skaggs
Pulling off the astonishing feat of winning both Male Vocalist and Horizon award, Emmylou Harris’ former bandmate was hugely rewarded for bringing bluegrass to the masses.
1981
George Jones
Ronnie Milsap
Willie Nelson
Kenny Rogers
Don Williams
It’s taken for granted that Jones is the greatest living male vocalist in country music; few would dare to argue otherwise. No surprise, then, that he won for the second year in a row.
1980
John Conlee
George Jones
Willie Nelson
Kenny Rogers
Don Williams
Nominated for the first time in his career, George Jones walked away with Male Vocalist of the Year, along with Single of the Year for “He Stopped Loving Her Today”.
1979
John Conlee
Larry Gatlin
Willie Nelson
Kenny Rogers
Don Williams
It’s hard to believe that the legendary showman never won Entertainer of the Year, but he did take home a much-deserved Male Vocalist award, at least. Unfortunately, fellow nominee John Conlee would never be recognized at all, losing his first of two shots at this award.
1978
Larry Gatlin
Ronnie Milsap
Willie Nelson
Kenny Rogers
Don Williams
One of the most underrated artists in country music history got a well-deserved pat on the back, winning over four larger personalities in 1978.
1977
Larry Gatlin
Waylon Jennings
Ronnie Milsap
Kenny Rogers
Don Williams
Milsap set a record when he won for the third time in this category, which would stand until 1994, when Vince Gill won his fourth trophy.
1976
Waylon Jennings
Ronnie Milsap
Willie Nelson
Conway Twitty
Don Williams
After losing to Jennings the previous year, Milsap returned to collect his second Male Vocalist trophy in 1976. Conway Twitty lost again in his final appearance in the category.
1975
John Denver
Freddy Fender
Waylon Jennings
Ronnie Milsap
Conway Twitty
There was no love lost between Waylon Jennings and the CMA – he loathed the organization so much, he didn’t even show up at his Hall of Fame induction. This was the first of several CMA wins for Jennings, though the only one in this category that he would receive.
1974
Merle Haggard
Waylon Jennings
Ronnie Milsap
Charlie Rich
Cal Smith
Blind singer-songwriter and pianist Ronnie Milsap won for the first time; with Olivia Newton-John winning Female Vocalist the same night, pop was the flavor of the evening.
1973
Merle Haggard
Tom T. Hall
Charlie Rich
Johnny Rodriguez
Conway Twitty
The Silver Fox won on the strength of a great year at radio. He’s still considered one of the era’s finest and most under-appreciated vocalists.
1972
Merle Haggard
Freddie Hart
Johnny Paycheck
Charley Pride
Jerry Wallace
Charley Pride became the first artist to repeat in the category, winning for the second year in a row.
1971
Merle Haggard
Ray Price
Charley Pride
Jerry Reed
Conway Twitty
The CMA had a wealth of great male vocalists to choose from in the early years of the awards, and they finally got around to acknowledging Pride, who had been nominated four times already.
1970
Johnny Cash
Merle Haggard
Charley Pride
Marty Robbins
Conway Twitty
Merle Haggard dominated the show in 1970, winning Entertainer, Male Vocalist, Single and Album of the Year.
1969
Glen Campbell
Johnny Cash
Merle Haggard
Sonny James
Charley Pride
Cash was a huge winner in 1969, taking home five awards: Entertainer, Male Vocalist, Single, Album and Vocal Group (with wife June Carter Cash). He wouldn’t win again until after his death in 2003, when he took home another three awards.
1968
Eddy Arnold
Glen Campbell
Johnny Cash
Merle Haggard
Charley Pride
Crossover star Glen Campbell won in a year that is so impressive, all five nominees are now in the Hall of Fame. He also took home Male Vocalist the same evening.
1967
Eddy Arnold
Jack Greene
Merle Haggard
Sonny James
Buck Owens
Few casual country fans would recognize him today, but Jack Greene will forever go down in history as the first Male Vocalist winner at the CMA’s. He won on the strength of his signature hit “There Goes My Everything”, which also won Single of the Year and was the title track of his Album of the Year winner that same night.
Facts & Feats
Multiple Wins:
(5) – Vince Gill, George Strait
(3) – Ronnie Milsap, Keith Urban
(2) – Lee Greenwood, Alan Jackson, George Jones, Tim McGraw, Brad Paisley, Charley Pride, Randy Travis
Most Consecutive Wins:
(5) – Vince Gill (1991-1995)
(3) – George Strait (1996-1998), Keith Urban (2004-2006)
(3) – John Anderson, Larry Gatlin, Gary Morris, Collin Raye
(2) – Eddy Arnold, Dierks Bentley, John Conlee, Rodney Crowell, Sonny James, Bryan White
Winners in First Year of Nomination:
Clint Black (1990), Glen Campbell (1968), Vince Gill (1991), Lee Greenwood (1983), George Jones (1980), Toby Keith (2001), Ronnie Milsap (1974), Charlie Rich (1973), Ricky Skaggs (1982), Randy Travis (1987), Keith Urban (2004)
CMA Male Vocalists of the Year Who Have Never Won the ACM Award:
Johnny Cash, Jack Greene, Waylon Jennings, Charley Pride, Ricky Van Shelton, Ricky Skaggs, Randy Travis, Don Williams
ACM Male Vocalists of the Year Who Have Never Won the CMA Award:
Garth Brooks (1990 & 1991), Kenny Chesney (2003), Larry Gatlin (1980), Mickey Gilley (1977), Freddie Hart (1972)
CMA Male Vocalists Who Have Also Won the Grammy for Best Country Vocal Performance, Male:
Glen Campbell, Johnny Cash, Vince Gill, Lee Greenwood, George Jones, Tim McGraw, Ronnie Milsap, Brad Paisley, Charley Pride, Charlie Rich, Kenny Rogers, Randy Travis, Keith Urban
Winners of the Grammy for Best Country Vocal Performance, Male Who Have Never Won the CMA Male Vocalist Award:
Garth Brooks, David Houston, Lyle Lovett, Roger Miller, Willie Nelson, Ray Price, Jerry Reed, Ralph Stanley, Dwight Yoakam
Country music suffered the loss of a legend yesterday. Jerry “The Guitar Man” Reed was a tremendously talented performer best known for his stunning instrumental prowess and bitingly funny hits like “Lord Mr. Ford”, “When You’re Hot, You’re Hot” , “Amos Moses” and “She Got the Goldmine (I Got the Shaft)”. He was also well known for his role in Smokey & The Bandit.
There’s an excellent rundown of his diverse and successful entertainment career in today’s Tennessean, and it ends with the following quote from Reed himself:
“Every dream I ever dreamed came true in my life,” he told interviewer Calvin Gilbert in 2005. “I got to write hit songs… And I got to be on phonograph records… I’m a cotton mill boy, and I got to go to Hollywood. Can you imagine that? Why, yeah, my goodness gracious. Go figure.”
Written by Bob Losche.
On Wednesday, February 4, the Country Music Hall of Fame will announce its newest members. The genre’s highest honor, induction into the Hall of Fame is bestowed upon the absolute best of country music. In 1996 the CMHOF developed a set of categories to sort candidates, an effort intended to recognize the great breadth of the genre.
2009
2008
2007
2006
2008
2005
2003
2002
2001
2000
1998
1994
1993
1992
1991
1989
1988
1987
1986
1985
1984
1983
1982
1980 
1979
1978
1977
1976
1975
1974
1973
1972
1971
1969
1968
on 
on 
on 
on 
on 
on 
