The Country Universe staff has picked and predicted the 2014 Grammy Awards below, strange bunch that they are. Chime in with your thoughts, and catch the show on Sunday at 7 p.m. CST.
Album of the Year
Should Win:
Sara Bareilles, The Blessed Unrest
Daft Punk, Random Access Memories - Kevin
Kendrick Lamar, good kid m.A.A.d. city – Jonathan
Macklemore & Ryan Lewis, The Heist
Taylor Swift, Red
Will Win:
Sara Bareilles, The Blessed Unrest
Daft Punk, Random Access Memories - Kevin, Jonathan
Kendrick Lamar, good kid m.A.A.d. city
Macklemore & Ryan Lewis, The Heist
Taylor Swift, Red
Kevin: With electronic music so mainstream now, it would be wise and timely for NARAS to acknowledge the excellent comeback of one of its pioneers, especially as the year’s best country albums (Brandy Clark, Kacey Musgraves, Ashley Monroe, etc.) and the year’s best rap album (Kanye West) didn’t score nominations in the top category.
Jonathan: Lamar and Daft Punk would both be worthy winners of an award that rarely seems to go to one. Hip-hop and R&B have notoriously struggled in the general field in recent years, so Daft Punk’s cachet with the rock contingent should give them the edge over Swift, who didn’t score the across-the-board support many were expecting from her this year. If the voters are feeling especially timid, though, watch out for “Brave” yelper Bareilles as a spoiler.
Record of the Year
Should Win:
“Blurred Lines” – Robin Thicke featuring T.I. and Pharrell Williams
“Get Lucky” – Daft Punk featuring Pharrell Williams – Kevin, Jonathan, Tara
“Locked Out of Heaven” – Bruno Mars
“Radioactive” – Imagine Dragons
“Royals” – Lorde – Dan
Will Win:
“Blurred Lines” – Robin Thicke featuring T.I. and Pharrell Williams – Tara
“Get Lucky” – Daft Punk featuring Pharrell Williams
“Locked Out of Heaven” – Bruno Mars – Kevin, Jonathan, Ben
“Radioactive” – Imagine Dragons
“Royals” – Lorde - Dan
Kevin: “Get Lucky” was retro and modern at the same time, featuring the charismatic Williams. That guy makes everything better. I’m guessing Mars will get it because he’s the most established and arguably is overdue for a big win.
Dan: “Royals” was the most refreshing to me. Winner feels like a real toss-up, though.
Jonathan: Prevailing logic as to why hip-hop tracks have fared so poorly in this category is that NARAS voters are still hell-bent on rewarding live instrumentation, so it’s hard to imagine something as spare as “Royals” winning, even if it’s the most distinctive choice. “Get Lucky” would get my vote, but look for Bruno Mars to head off to his Super Bowl Halftime gig with some new hardware in hand to reward his Police homage.
Tara: Lots of atmospheric tunes here. “Get Lucky” seems like the one that will feel no less groovy in ten years time. I wouldn’t put any money on it, but I could see the voters ignoring controversy and rewarding the biggest hit of the year.
Song of the Year
Should Win:
“Just Give Me a Reason” – Jeff Bhasker, P!nk, and Nate Reuss – Kevin, Ben
“Locked out of Heaven” – Phillip Lawrence, Ari Levine, and Bruno Mars
“Roar” – Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry, and Henry Walter
“Royals” – Joel Little and Lorde – Jonathan
“Same Love” – Ben Haggerty, Mary Lambert, Ryan Lewis, and Curtis Mayfield – Dan, Tara
Will Win:
“Just Give Me a Reason” – Jeff Bhasker, P!nk, and Nate Reuss - Kevin, Ben, Dan
“Locked out of Heaven” – Phillip Lawrence, Ari Levine, and Bruno Mars
“Roar” – Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry, and Henry Walter
“Royals” – Joel Little and Lorde
“Same Love” – Ben Haggerty, Mary Lambert, Ryan Lewis, and Curtis Mayfield - Jonathan, Tara
Kevin: P!nk is long overdue for a top tier award, and her co-write with previous winner Nate Reuss was, in my opinion, the best duet in a year chock full of ‘em.
Dan: The Macklemore & Ryan Lewis composition is somehow the most personal of the group even as it makes the biggest, broadest statement. And the climactic third verse still gives me chills.
Jonathan: I don’t care that Kacey Musgraves is a fan of hers: Perry’s nomination is indefensible, with four adults credited on a song that rhymes “zero” with “hero” and that allows pop music’s least-capable vocalist to scream a series of self-help cliches. The broad, even-in-the-flyover-states popularity of “Same Love,” though, gives the voters a safe opportunity to make a political statement and to recognize one of the year’s breakthrough acts.
Tara: It’s a toss-up between “Royals” and “Same Love” for me in terms of substance and purposeful songwriting, but I can’t ignore the chills I also get listening to the latter. I agree with Jonathan that this is a win-win way for the voters to make a statement.
Best New Artist
Should Win:
James Blake
Kendrick Lamar – Jonathan
Macklemore & Ryan Lewis – Dan
Kacey Musgraves – Kevin, Ben, Tara
Ed Sheeran
Will Win:
James Blake
Kendrick Lamar
Macklemore & Ryan Lewis - Dan, Kevin, Tara
Kacey Musgraves - Jonathan, Ben
Ed Sheeran
Kevin: Gotta root for the home team. I think Macklemore & Lewis will win, though.
Dan: For once, this category is hot across the board; you could make a great argument for any of these folks. Personally, I find Macklemore & Ryan Lewis to be the most exciting.
Ben: I don’t always gravitate toward the country-affiliated New Artist nominee, but then again it’s rare for me to be so invested in a country newcomer’s artistry as I am with Musgraves. To see her win would make my heart happy.
Jonathan: Lamar is making the most compelling music of this lot, but this category’s history dictates that it’s Musgraves’ award to lose. Macklemore & Ryan Lewis pose a real threat, but being the only woman nominated plays in Musgraves’ favor.
Tara: It’s hard to tell if Musgraves’ profile outside of the country sphere is big enough to nab her this one, but I’d be happy if it did. I hope she keeps the face in check if it doesn’t, though.
Best Country Album
Should Win:
Jason Aldean, Night Train
Tim McGraw, Two Lanes of Freedom
Kacey Musgraves, Same Trailer Different Park – Dan, Kevin, Ben, Jonathan, Sam, Tara
Blake Shelton, Based on a True Story
Taylor Swift, Red
Will Win:
Jason Aldean, Night Train
Tim McGraw, Two Lanes of Freedom
Kacey Musgraves, Same Trailer Different Park
Blake Shelton, Based on a True Story – Sam
Taylor Swift, Red - Kevin, Ben, Jonathan, Tara
Kevin: Don’t see how Taylor doesn’t win, though Musgraves made the best album by a decent margin, regardless of how country any of ‘em are.
Dan: Here’s the most logical place to reward Musgraves, though I guess Red’s nomination in the general Album of the Year field makes it the frontrunner in this category. And that’s fine; whatever. I’ve been hoping for Swift’s albums to be grouped under “Pop” at the Grammys since Fearless. It ain’t gonna happen.
Ben: Should Win – easy choice. Will Win – also an easy choice.
Sam: Just to be contrary, I think Shelton’s built up enough recognition with his “The Voice” gig that he has name recognition from voters who know next to nothing about country music. The fact that it was a terrible, terrible album doesn’t really matter.
Jonathan: No, Red shouldn’t be nominated in the Country field, so I wouldn’t vote for it on principle, even though its best tracks are far and away the strongest material in this line-up. NARAS has no qualms about rewarding pop crossover albums here, so it would be a huge upset were Swift to lose. When we were all prepping our ballots for our year-end countdowns, I had Musgraves’ album at #38. It’s good and I certainly understand why it has as many fans as it does, but I’m just not as bullish on it as others seem to be. Still, it would be my personal choice from this paltry line-up, since Aldean’s, McGraw’s, and Shelton’s albums ranged from pedestrian to downright unlistenable.
Tara: Seems like an easy Swift win, but I get where Sam’s head is at re: Shelton. There’s no question Musgraves made the best music, though, and what a shame she’s not surrounded by her peers who made even better music.
Best Country Solo Performance
Should Win:
Lee Brice, “I Drive Your Truck”
Hunter Hayes, “I Want Crazy”
Miranda Lambert, “Mama’s Broken Heart” – Dan, Kevin, Ben, Jonathan, Sam, Tara
Darius Rucker, “Wagon Wheel”
Blake Shelton, “Mine Would Be You”
Will Win:
Lee Brice, “I Drive Your Truck”
Hunter Hayes, “I Want Crazy”
Miranda Lambert, “Mama’s Broken Heart” - Dan, Kevin, Ben, Jonathan, Sam, Tara
Darius Rucker, “Wagon Wheel”
Blake Shelton, “Mine Would Be You”
Kevin: Lambert is the only female and the only previous winner. I’d be shocked if she lost.
Ben: To me, Lambert’s performance alone claims the distinction of making an already-great song even better.
Sam: This could be one of those rare occasions where the best nominee actually wins a Grammy. I think Hunter Hayes is a long shot, as most Grammy voters are not teenaged girls.
Jonathan: What Kevin said. Also, he’s a talented instrumentalist, but the Grammy voters’ fascination with Hunter Hayes is baffling.
Tara: Lambert’s is the most distinct and impactful performance here, but I’ll throw in my defense of Hayes’ “I Want Crazy,” a song and vocal that’s as breathlessly exuberant as Keith Urban’s best work.
Best Country Duo/Group Performance
Should Win:
The Civil Wars, “From This Valley”
Kelly Clarkson featuring Vince Gill, “Don’t Rush”
Little Big Town, “Your Side of the Bed” – Jonathan
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Kenny Rogers and Dolly Parton, “You Can’t Make Old Friends” – Kevin, Ben, Tara
Will Win:
The Civil Wars, “From This Valley”
Kelly Clarkson featuring Vince Gill, “Don’t Rush”
Little Big Town, “Your Side of the Bed”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care” - Kevin, Ben, Tara
Kenny Rogers and Dolly Parton, “You Can’t Make Old Friends” - Jonathan, Sam
Kevin: The high octane collaboration of McGraw/Swift/Urban has been unstoppable thus far. Kudos to NARAS for noticing Rogers & Parton’s beautiful work, their best together since “Islands in the Stream.”
Ben: “You Can’t Make Old Friends” is enough to give many a longtime country music lover warm fuzzies, but the commercial clout of “Highway Don’t Care” may be too much to beat.
Sam: If you’re a Grammy voter and have to decide on a zillion categories, do you take the time to sit and listen to each nominee, or do you skim over the names and pick the ones you’re most familiar with? Kenny and Dolly for the win.
Jonathan: One of the strongest sets of nominees anywhere on the Grammy ballot this year. Little Big Town would get my vote so that they have a win for something besides “Pontoon” to their credit, but I think NARAS’ older voters will be swayed by the effortless charm of the Rogers and Parton duet.
Tara: I don’t love any of these except for the Rogers and Parton collaboration, as much as I wanted to embrace “Don’t Rush” (Kelly Clarkson! Vince Gill!). I think the middle-of-the-road McGraw / Swift / Urban song will win out, but here’s to hoping the voters act on warm fuzzies.
Best Country Song
Should Win:
“Begin Again” – Taylor Swift
“I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
“Merry Go ‘Round” – Shane McAnally, Kacey Musgraves, and Josh Osborne - Ben
“Mine Would Be You” – Jessi Alexander, Connie Harrington and Deric Ruttan
Kevin: Gotta root for the Brandy Clark co-write, which is conveniently the best composition anyway. Still, I think voters will use this category to acknowledge Musgraves for writing her own hit instead of Miranda’s.
Ben: I seem to be in the minority here, but I actually consider “Merry Go ‘Round” to be the finer of the two Musgraves co-writes – which is not to say that I don’t adore “Mama’s Broken Heart” or that I wouldn’t be thrilled to see Brandy Clark also gain a mantle decoration. This would seem a comfortable place for voters to acknowledge Musgraves – as well as a likely consolation prize should she lose Best New Artist – and like Kevin, I expect it will be for the hit she performed as well as wrote.
Sam: I’d just like to point out that this is an incredibly strong group of nominees and shows there is some substance to country music once you weed out all the tailgate songs.
Jonathan: Things could play out here in a similar fashion to the CMAs, with vote-splitting among the multiple nominations for Musgraves, McAnally, Alexander, and Harrington. That worked to the latter pair’s advantage at the CMAs, where “I Drive Your Truck” pulled off a surprise win, but Shelton’s powerballad could siphon votes from Brice’s hit this time. As much as I love the idea of Brandy Clark as a Grammy winner, I think the various vote-splits will allow one of Swift’s best-written songs to win.
Tara: As strong as Lambert’s spitfire performance is, I’d argue that the bones of “Mama’s Broken Heart” are even stronger. I’ve never been able to connect with “Merry Go Round” the way others have, but agree this is likely where the voters will single Musgraves out.
Best American Roots Song
Should Win:
“Build Me Up From Bones” – Sarah Jarosz – Jonathan
“Invisible” – Steve Earle
“Keep Your Dirty Lights On” – Tim O’Brien and Darrell Scott – Kevin
“Love Has Come From You” – Edie Brickell and Steve Martin
“Shrimp Po-Boy, Dressed” – Allen Touissant
Will Win:
“Build Me Up From Bones” – Sarah Jarosz
“Invisible” – Steve Earle
“Keep Your Dirty Lights On” – Tim O’Brien and Darrell Scott
“Love Has Come From You” – Edie Brickell and Steve Martin- Kevin, Jonathan
“Shrimp Po-Boy, Dressed” – Allen Touissant
Kevin: Can voters resist Steve Martin? If they do, I hope it’s to acknowledge again the unique talents of Tim O’Brien and Darrell Scott. They are so good together.
Jonathan: Jarosz draws favorable comparisons to Alison Krauss, and, if ever there were a surefire way to appeal to Grammy voters, that would be it. She’d get my vote for the exceptional title track from her third album, though, like Kevin, I’m a big fan of O’Brien’s and Scott’s work together. Martin’s charm and name recognition are likely to give his duet with erstwhile New Bohemian Brickell the edge here.
Best Americana Album
Should Win:
Emmylou Harris and Rodney Crowell, Old Yellow Moon – Kevin, Jonathan, Sam
Steve Martin and Edie Brickell, Love Has Come For You
Buddy Miller and Jim Lauderdale, Buddy and Jim
Mavis Staples, One True Vine
Allen Touissant, Songbook
Will Win:
Emmylou Harris and Rodney Crowell, Old Yellow Moon - Kevin, Ben
Steve Martin and Edie Brickell, Love Has Come For You - Jonathan
Buddy Miller and Jim Lauderdale, Buddy and Jim
Mavis Staples, One True Vine
Allen Touissant, Songbook - Sam
Kevin: Martin & Brickell might be the most logical choice, but in a category stacked with veterans, Harris & Crowell must be tempting to voters who are long time fans of both.
Sam: The fact that Jason Isbell wasn’t nominated here shows that Americana music has a long way to go before Grammy voters stop using it at the place where all veteran singer/songwriters end up. As for this year, Allen Touissant is older and has past Grammy love, so my money is on him.
Jonathan: The strongest, most vital year for Americana music in a decade is rewarded with a staid slate of nominees. Old Yellow Moon is the obvious standout and could very well win, but I think Martin’s well-received album with Brickell has the edge based on Martin’s celebrity.
Best Bluegrass Album
Should Win:
The Boxcars, It’s Just a Road
Dailey & Vincent, Brothers of the Highway – Jonathan
Della Mae, This World Oft Can Be
James King, Three Chords and the Truth
Del McCoury Band, The Streets of Baltimore
Will Win:
The Boxcars, It’s Just a Road
Dailey & Vincent, Brothers of the Highway
Della Mae, This World Oft Can Be
James King, Three Chords and the Truth
Del McCoury Band, The Streets of Baltimore - Kevin, Jonathan, Ben
Kevin: Haven’t heard these albums enough to have a personal favorite, but I think the Del McCoury Band’s name recognition will power it to a win.
Jonathan: Both the Del McCoury Band and Dailey & Vincent are nominated for some of their very best work, and either would be a richly deserving winner. Della Mae have a fairly vocal fanbase, but it isn’t clear if that fanbase overlaps with the Grammy voter bloc enough to unseat one of the two bigger-name acts.
Best Folk Album
Should Win:
Guy Clark, My Favorite Picture of You – Kevin, Ben
The Greencards, Sweetheart of the Sun
Sarah Jarosz, Build Me Up From Bones – Jonathan
The Milk Carton Kids, The Ash & Clay
Various Artists, They all Played for Us: Arhoolie Records 50th Anniversary Celebration
Will Win:
Guy Clark, My Favorite Picture of You - Kevin, Ben, Jonathan
The Greencards, Sweetheart of the Sun
Sarah Jarosz, Build Me Up From Bones
The Milk Carton Kids, The Ash & Clay
Various Artists, They all Played for Us: Arhoolie Records 50th Anniversary Celebration
Kevin: Sentimental favorite who also put out a great album? How can they deny Guy Clark?
Jonathan: I’m tempted to pick the Arhoolie Records without having heard it, simply because it just seems like something the idiosyncratic Grammys would go for. Clark is a safer bet for his beautifully observed album, while the ascendant Jarosz would get my vote for her career-best work.
The nominations for the 56th Annual Grammy Awards have been announced. Taylor Swift has the top nomination connected to country music, earning her second nomination for Album of the Year. She took home the award four years ago for Fearless.
Here are the general category nominees, along with all country and country-related categories:
Album of the Year
Sara Bareilles, The Blessed Unrest
Daft Punk, Random Access Memories
Kendrick Lamar, good kid m.A.A.d. city
Macklemore & Ryan Lewis, The Heist
Taylor Swift, Red
If Taylor Swift wins, she will be the first country-related artist in history to win the category twice with individual projects. Alison Krauss also has two victories, one for her collaboration with Robert Plant (Raising Sand, 2009), and another for her contributions to the O Brother Where Art Thou soundtrack (2002.) The award has only been won by country artists in two other years: Glen Campbell for By the Time I Get to Phoenix (1968), and the Dixie Chicks for Taking the Long Way (2007).
Record of the Year
“Blurred Lines” – Robin Thicke featuring T.I. and Pharrell Williams
“Get Lucky” – Daft Punk featuring Pharrell Williams
“Locked Out of Heaven” – Bruno Mars
“Radioactive” – Imagine Dragons
“Royals” – Lorde
For the third time in the last eight years, no country or country-related records make the cut. Only four country-related winners have triumphed in this category, but three of them have been in the last few years. Olivia Newton-John won for “I Honestly Love You” in 1975, followed much later by the Dixie Chicks for “Not Ready to Make Nice” in 2006; Robert Plant & Alison Krauss for “Please Read the Letter” in 2009; and Lady Antebellum for “Need You Now” in 2011.
Song of the Year
“Just Give Me a Reason” – Jeff Bhasker, P!nk, and Nate Reuss
“Locked out of Heaven” – Phillip Lawrence, Ari Levine, and Bruno Mars
“Roar” – Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry, and Henry Walter
“Royals” – Joel Little and Lorde
“Same Love” – Ben Haggerty, Mary Lambert, Ryan Lewis, and Curtis Mayfield
For the third straight year, country is shut out of the top songwriting category, a streak that began after the writers of Lady Antebellum’s “Need You Now” won in 2011.
Best New Artist
James Blake
Kendrick Lamar
Macklemore & Ryan Lewis
Kacey Musgraves
Ed Sheeran
Kacey Musgraves is the latest new artist to represent country music in this category, which has become a nearly annual occurrence since LeAnn Rimes was nominated and won back in 1997. Previous country winners also include Bobbie Gentry (1968), Carrie Underwood (2007) and Zac Brown Band (2010).
Best Country Album
Jason Aldean, Night Train
Tim McGraw, Two Lanes of Freedom
Kacey Musgraves, Same Trailer Different Park
Blake Shelton, Based on a True Story
Taylor Swift, Red
Despite the presence of four big, established stars, only Taylor Swift has actually earned a victory in this category. She won in 2010 for Fearless. She contended again in 2012 with Speak Now, which lost to repeating victors Lady Antebellum, who won two years in a row for Need You Now (2011) and Own the Night (2012). Kacey Musgraves earns a nomination for her debut album, the first artist do so since 2005, when Gretchen Wilson contended with Here For the Party.
Best Country Solo Performance
Lee Brice, “I Drive Your Truck”
Hunter Hayes, “I Want Crazy”
Miranda Lambert, “Mama’s Broken Heart”
Darius Rucker, “Wagon Wheel”
Blake Shelton, “Mine Would Be You”
Since this category combined the solo categories into one, this award has been one by Taylor Swift (“Mean”) and Carrie Underwood (“Blown Away.”) Lambert is the only previous winner in a predecessor of this category.
Best Country Duo/Group Performance
The Civil Wars, “From This Valley”
Kelly Clarkson featuring Vince Gill, “Don’t Rush”
Little Big Town, “Your Side of the Bed”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Kenny Rogers and Dolly Parton, “You Can’t Make Old Friends”
There’s really only one hit here, but there are plenty of former Grammy winners scattered among this category. In case you’re wondering, the answer is no, they didn’t win a Grammy for “Islands in the Stream.”
Best Country Song
“Begin Again” – Taylor Swift
“I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
“Merry Go ‘Round” – Shane McAnally, Kacey Musgraves, and Josh Osborne
“Mine Would Be You” – Jessi Alexander, Connie Harrington and Deric Ruttan
It’s not too common for people to receive double nominations, but here there are four songwriters competing against themselves: Jessi Alexander, Connie Harrington, Shane McAnally, and Kacey Musgraves.
Best American Roots Song
“Build Me Up From Bones” – Sarah Jarosz
“Invisible” – Steve Earle
“Keep Your Dirty Lights On” – Tim O’Brien and Darrell Scott
“Love Has Come From You” – Edie Brickell and Steve Martin
“Shrimp Po-Boy, Dressed” – Allen Touissant
This category is brand new this year, encompassing songs from all of the subcategories in the American Roots field: Americana, bluegrass, blues, folk, and regional roots music.
Best Americana Album
Emmylou Harris and Rodney Crowell, Old Yellow Moon
Steve Martin and Edie Brickell, Love Has Come For You
Buddy Miller and Jim Lauderdale, Buddy and Jim
Mavis Staples, One True Vine
Allen Touissant, Songbook
Collaborations dominate this category, which is populated with many previous Grammy winners. Emmylou Harris won this award twice, back when it was called Best Contemporary Folk Album.
Best Bluegrass Album
The Boxcars, It’s Just a Road
Dailey & Vincent, Brothers of the Highway
Della Mae, This World Oft Can Be
James King, Three Chords and the Truth
Del McCoury Band, The Streets of Baltimore
Del McCoury Band are the only returning victors in this category, winning back in 2006 for The Company We Keep. Perhaps because of the broad voter base, this category has been dominated by acts with explicit ties to country music, including multiple wins by Ricky Skaggs, Jim Lauderdale, and Alison Krauss & Union Station, and one-off victories by Patty Loveless and Dolly Parton. This year is the second in a row without crossover contenders; last year’s winner was the Steep Canyon Rangers for Nobody Knows You.
Best Folk Album
Guy Clark, My Favorite Picture of You
The Greencards, Sweetheart of the Sun
Sarah Jarosz, Build Me Up From Bones
The Milk Carton Kids, The Ash & Clay
Various Artists, They all Played for Us: Arhoolie Records 50th Anniversary Celebration
A tribute to Guy Clark earned a nomination in this category last year, and now Clark himself is in contention for the prize. None of the acts in contention have won in the folk fields before.
Also of note, the Pistol Annies set Annie Up earned nominations for engineer Chuck Ainlay and mastering engineer Bob Ludwig in the Best Engineered Album, Non-Classical category. It competes against Daft Punk, another album mastered by Ludwig, along with sets by Alice in Chains, Queens of the Stone Age, Andrew Duhon, and Madeline Payroux.
Dean Dillon and George Strait are one of the finest songwriter and singer matches that country music has ever seen.
Why do they work so well together? I think it’s because George Strait has that everyman quality, a pure crooner that is as mainstream as it gets. Dillon, on the other hand, is so quirky and offbeat that his material can seem a little out there.
Strait is able to close the gap, which makes songs that would sound odd in another singer’s hands sound a bit surprising but still completely natural in Strait’s. Perhaps that’s why he pulls off Jim Lauderdale so well, too.
This is a standard country weeper with a mouthful of a title. Dillon took it to #25 in 1980, but Strait took it all the way to #1.
The 54th annual GrammyAdele Awards air this Sunday at 8 p.m. Eastern. Look for appearances by Miranda Lambert, Dierks Bentley and Lady Antebellum as well as country-ish performances by Jason Aldean, Glen Campbell (with the Band Perry and Blake Shelton), Taylor Swift and Carrie Underwood. We’ve picked and predicted the awards below – share your thoughts, and be sure to drop by on Sunday night for our live blog!
Album of the Year
Should Win
Adele, 21 -Dan, Kevin, Ben, Tara, Sam
Foo Fighters, Wasting Light
Lady Gaga, Born this Way
Bruno Mars, Doo-Wops & Hooligans
Rihanna, Loud
Will Win
Adele, 21 - Dan, Kevin, Ben, Tara, Sam
Foo Fighters, Wasting Light
Lady Gaga, Born this Way
Bruno Mars, Doo-Wops & Hooligans
Rihanna, Loud
Ben: Adele made some of the best and most memorable music of the year, and met with across-the-board critical and commercial success, so it’s hardly a stretch to say that she should and will emerge victorious here.
Tara: I don’t often agree with Bob Lefsetz, but his case for why 21 has resonated so well is spot on: “music trumps everything.” How true, and how refreshing that an album that embraced the hell out of this theme made such a commercial splash.
Sam: Lady Gaga is the only one of the nominees who can rival her for publicity in 2011, but Adele’s record sales should put her over the top. Oh, and it was a great record — not that that means anything where Grammy voters are concerned.
Dan: It helps that this is an especially lazy pool of nominees. 21 is certainly a strong album and a commercial landmark, but I do wish something like Kanye’s My Beautiful Dark Twisted Fantasy were here to help hold up the bar.
Kevin: Adele made the best album by a wide margin.
Record of the Year
Should Win
Adele, “Rolling in the Deep” - Dan, Kevin, Ben, Tara, Sam
Bon Iver, “Holocene”
Bruno Mars, “Grenade”
Mumford & Sons, “The Cave”
Katy Perry, “Firework”
Will Win
Adele, “Rolling in the Deep” - Dan, Kevin, Ben, Tara, Sam
Bon Iver, “Holocene”
Bruno Mars, “Grenade”
Mumford & Sons, “The Cave”
Katy Perry, “Firework”
Ben: The dramatic build-up nature, the simmering intensity, the all-guns-blazing chorus…“Rolling In the Deep” is all but untouchable.
Tara: As rousing a Top 40 hit as we’ve heard in years. I think we all know Adele will sweep.
Sam: I’m a Mumford & Sons fan, but it’s hard to top “Rolling in the Deep.” Anyone who votes for a Katy Perry song in this category should lose their Grammy voting rights permanently.
Dan: Long after it became overplayed, it was still more refreshing to me than everything else on the radio.
Kevin: Adele cut through the hype by being the best singer and the best songwriter. Amazing, isn’t it?
Song of the Year
Should Win
“All of the Lights” – Jeff Bhasker, Malik Jones, Warren Trotter & Kanye West - Dan
“The Cave” – Ted Dwane, Ben Lovett, Marcus Mumford & Country Winston
“Grenade” – Brody Brown, Claude Kelly, Philip Lawrence, Ari Levine, Bruno Mars & Andrew Wyatt
“Holocene” – Justin Vernon
“Rolling in the Deep” – Adele Adkins & Paul Epworth – Kevin, Ben, Tara
Will Win
“All of the Lights” – Jeff Bhasker, Malik Jones, Warren Trotter & Kanye West
“The Cave” – Ted Dwane, Ben Lovett, Marcus Mumford & Country Winston
“Grenade” – Brody Brown, Claude Kelly, Philip Lawrence, Ari Levine, Bruno Mars & Andrew Wyatt
“Holocene” – Justin Vernon
“Rolling in the Deep” – Adele Adkins & Paul Epworth - Dan, Kevin, Ben, Tara
Tara: “Rolling in the Deep” shines more as a record than as a composition, but it’s still memorable enough to nab this award, and I think it will.
Dan: Here’s where I’d love to see some variation. “All of the Lights” is a poetic, layered micro-drama. Plus, from a songwriting standpoint, I’ve never fully gotten over how “Rolling in the Deep” cribs its chorus from Gnarls Barkley’s “Crazy.”
Kevin: The British slang that the song is built around doesn’t stop “Rolling” from being the most universal of the five compositions.
Best New Artist
Should Win
The Band Perry - Sam
Bon Iver
J. Cole – Tara
Nicki Minaj – Dan, Kevin
Skrillex
Will Win
The Band Perry – Sam
Bon Iver – Dan, Kevin, Tara
J. Cole
Nicki Minaj
Skrillex
Tara: Bon Iver fits the Grammy mold the best. Personally, I’m not married to any of these acts, but I guess J. Cole piques my interest the most right now. This is totally one of those picks I’m going to regret in six months…
Sam: I think this one could be an upset win for the country world. “If I Die Young” was such an unexpected crossover hit, and I think it had more resonance than most other singles from the eligibility period. Plus the Band Perry is cuter than a basket full of puppies, which can only help them.
Dan: I think Bon Iver is the most fully realized act, and predict the band’s Song and Record nods will tip Grammy voters to vote for them like Adele’s did a few years ago. But Minaj’s potential excites me the most, and I had “Super Bass” on loop last year.
Kevin: Minaj is the most refreshing of the five, though Bon Iver’s the most Grammy-friendly.
Best Country Solo Performance
Should Win
Jason Aldean, “Dirt Road Anthem”
Martina McBride, “I’m Gonna Love You Through It”
Blake Shelton, “Honey Bee”
Taylor Swift, “Mean” - Dan, Kevin, Jonathan, Ben, Tara, Leeann, Sam
Carrie Underwood, “Mama’s Song”
Will Win
Jason Aldean, “Dirt Road Anthem” – Sam
Martina McBride, “I’m Gonna Love You Through It”
Blake Shelton, “Honey Bee”
Taylor Swift, “Mean” - Dan, Kevin, Jonathan, Ben, Tara, Leeann
Carrie Underwood, “Mama’s Song”
Ben: Swift outclasses the competition by miles.
Jonathan: A depressing line-up here, really. Swift’s single and performance are far and away the strongest of the five nominees, but she didn’t land the general field nominations that many people were expecting her to receive, so I do wonder if her support runs as deep this year as it did during the Fearless juggernaut. If she loses this one, I think it will be to the red-hot-but-I-don’t-get-it-at-all Aldean.
Tara: Embarrassing line-up. “Mean” is the only one that even comes close to Grammy worthy. I think Swift still has the voters on her side, but I could also see Aldean edging her out.
Sam: “Honey Bee?” “Dirt Road Anthem?” Really, Grammy voters? I guess we should be lucky they managed to put one good song in the category, even if it was probably an accident. However, I think voters are going to take a year off on the Swift love and give it to Aldean, because it’s the least country-sounding song in the category.
Dan: I could see Shelton’s familiarity prompting a win here, but suspect Grammy voters are still in Swift’s corner.
Kevin: They should just make the genre categories line up perfectly with the big three. This is really a race for Country Record of the Year anyway. Swift’s entry is the best.
Leeann: All of the songs on this are vanilla except for the Swift song, both in lyrics and execution. This is the inarguable standout song.
Best Country Duo / Group Performance
Should Win
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Kenny Chesney with Grace Potter, “You and Tequila” – Kevin, Leeann
The Civil Wars, “Barton Hollow” - Dan, Jonathan, Ben, Tara, Sam
Thompson Square, “Are You Gonna Kiss Me or Not”
Will Win
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” - Dan, Jonathan, Ben, Tara, Leeann, Sam
Kenny Chesney with Grace Potter, “You and Tequila”
The Civil Wars, “Barton Hollow” – Kevin
Thompson Square, “Are You Gonna Kiss Me or Not”
Ben: It’s a super tough call for me to choose between The Civil Wars and Chesney and Potter. As much as I adore “You and Tequila,” I’m finally settling on The Civil Wars as my pick. However, I expect that Aldean and Clarkson will likely triumph over both.
Jonathan: Had the Civil Wars scored the Best New Artist nomination that they seemed primed for, I would be more bullish on their chances here. They’re still the only of the four nominees I’d even consider voting for, but Clarkson is the only proven Grammy commodity in this lot, and this is probably the least credibility-straining place to recognize Aldean.
Tara: Confession: I don’t really see the sparkle that others see in “You and Tequila.” The swampy “Barton Hollow” has my heart, but I think Aldean & Clarkson will have the Grammy voters’ hearts. And I’m always OK with a little K. Clarkson love.
Sam: “Barton Hollow” kicks the ass of every other song on the list, including the excellent Chesney/Potter collaboration, and if Grammy voters actually listened to the songs they vote for, it would probably win. However, the Aldean/Clarkson screamfest has the benefit of Kelly Clarkson’s name recognition and Aldean’s current popularity.
Dan: The Civil Wars wail like mad dogs on their track. But Aldean and Clarkson are both having a moment right now.
Kevin: The Civil Wars seem like Grammy catnip.
Leeann: My vote goes for the Chesney/Potter collaboration or The Civil Wars song, but I won’t be surprised if it goes to the powerhouse duet of Aldean and Clarkson based on crossover appeal. I hope, however, that it turns out that I’m not giving the Grammy voters enough credit.
Best Country Song
Should Win
“Are You Gonna Kiss Me or Not” – Jim Collins & David Lee Murphy
“God Gave Me You” – Dave Barnes
“Just Fishin’” – Casey Beathard, Monty Criswell & Ed Hill
“Mean” – Taylor Swift - Dan, Ben, Tara, Sam
“Threaten Me With Heaven” – Vince Gill, Amy Grant, Will Owsley & Dillon O’Brian - Kevin, Jonathan, Leeann
“You and Tequila” – Matraca Berg & Deana Carter
Will Win
“Are You Gonna Kiss Me or Not” – Jim Collins & David Lee Murphy
“God Gave Me You” – Dave Barnes
“Just Fishin’” – Casey Beathard, Monty Criswell & Ed Hill
“Mean” – Taylor Swift - Dan, Kevin, Jonathan, Ben, Tara, Leeann
“Threaten Me With Heaven” – Vince Gill, Amy Grant, Will Owsley & Dillon O’Brian – Sam
“You and Tequila” – Matraca Berg & Deana Carter
Ben: Gill’s “Threaten Me with Heaven” is mature and beautifully written, but ultimately, my heart still belongs to “Mean.”
Jonathan: Gill has a real shot at this because it’s the Grammys so Gill always has a real shot at anything he’s nominated for. He’d be a worthy winner here, too, as would “You and Tequila” or the more likely winner, “Mean.”
Tara: I wrestle with this one, but I think the freshness of “Mean” gives it an edge over Gill’s track for me. Gill could easily take this given he’s Grammy royalty, but I’ll predict the voters will stick with Swift.
Sam: It’s Vince Gill in a Grammy category. That’s why.
Dan: I’d be happy with any of those last three. Honestly, I even half-like “Just Fishin’” and “God Gave Me You” as songs.
Kevin: Can’t believe that Gill’s composition got a nod. I like Swift’s record the most, but as a song, “Threaten Me With Heaven” is jaw-droppingly good.
Leeann: I’d love to see Vince win another grammy, but I won’t be surprised or too disappointed if Swift takes this one.
Best Country Album
Should Win
Jason Aldean, My Kinda Party
Eric Church, Chief - Jonathan, Tara, Leeann
Lady Antebellum, Own the Night
Blake Shelton, Red River Blue
George Strait, Here For a Good Time - Kevin, Ben
Taylor Swift, Speak Now – Sam
Will Win
Jason Aldean, My Kinda Party – Dan
Eric Church, Chief
Lady Antebellum, Own the Night - Tara
Blake Shelton, Red River Blue
George Strait, Here For a Good Time
Taylor Swift, Speak Now - Kevin, Jonathan, Ben, Leeann, Sam
Ben: Church, Strait, and Swift have the three best albums, and of those three, Strait’s Here for a Good Time is the most fully realized, but I would expect that Swift’s crossover appeal and high sales numbers will lead voters to gravitate toward Speak Now.
Jonathan: The nomination for Lady Antebellum’s godawful album represents Grammy voting at its laziest. I don’t care how many people bought Own the Night: It’s terrible and, at some point, the over-rewarding of Lady A for their aggressively middlebrow, banal music has to stop. Church’s album would get my vote over Strait’s by just a hair and, even though I would’ve nominated it for Best Pop Album instead, Speak Now is Swift’s strongest set to date, so I won’t complain too loudly when she wins here.
Tara: Chief packs a killer, audacious punch…but I have this sinking feeling that Lady A will pull a repeat in this category. Look – I was (and probably still am) Lady A’s biggest advocate at Country Universe, but I can’t get behind the overblown success of their degenerating music. How will they ever be motivated to live up to the massive potential shown on Lady Antebellum if we keep rewarding them like this?
Sam: Quality-wise, Speak Now edges out Chief, though I think Chief deserves some recognition for its ambition. Speak Now was a commercial and an artistic triumph, though the only concern is that it was released so long ago that its impact may have faded from the voters’ memories. That might open the door for Lady Antebellum to win, which would be a shame. While I actually kind of liked Own the Night, there are three albums better than it in the category.
Kevin: Strait just keeps getting better lately. I think he’d win if it wasn’t for category crossover votes for Swift.
Leeann: I wish I cared about this category more this year than I actually do. It’s likely that either Strait or Swift will win the award, but I think Church’s album is the most interesting.
Best Americana Album
Should Win
Linda Chorney, Emotional Jukebox
Ry Cooder, Pull Up Some Dust and Sit Down
Emmylou Harris, Hard Bargain - Jonathan
Levon Helm, Ramble at the Ryman
Lucinda Williams, Blessed
Will Win
Linda Chorney, Emotional Jukebox
Ry Cooder, Pull Up Some Dust and Sit Down
Emmylou Harris, Hard Bargain
Levon Helm, Ramble at the Ryman – Dan
Lucinda Williams, Blessed - Jonathan, Ben, Sam
Jonathan: Of the four veterans nominated, only Harris’ album is anywhere close to her best work, but that rarely matters much. The vitriol directed at Chorney and her exploiting of NARAS’s new social networking initiatives to garner her nomination has reflected very, very poorly on a whole lot of Americana fans and has perpetuated an ugly “us-versus-them” attitude, but there’s no dressing up how poor Chorney’s album actually is, either. But she’s also the only one of the five nominees that anyone has been talking about during the entirety of the voting period… I give the edge to Williams on sales stats alone, but there’s really no frontrunner here.
Sam: Should win: Hayes Carll, KMAG YOYO and other American Stories (yeah, I know it wasn’t nominated). I actually kind of hope that Linda Chorney wins. For one thing, the outcry would be phenomenal. For another, it might shed some light on just how the voting is done, and is there a better way to do it. Do the voters know what Americana music is? Did they listen to any of the albums? I have nothing against any of the nominees, but Hayes Carll released one of the best albums of the year and had no chance in competing against legends like Emmylou, Ry Cooder and Levon Helm. Of the four legitimate nominees, Williams has gone the longest between Grammy wins, so maybe it’s her turn.
Dan: Levon has won for his last two albums. This one is a live set, so Lucinda could definitely unseat him, but still.
Best Bluegrass Album
Should Win
Alison Krauss and Union Station, Paper Airplane
Jim Lauderdale, Reason and Rhyme
Steve Martin and the Steep Canyon Rangers, Rare Bird Alert – Sam
The Del McCoury Band, Old Memories: The Songs of Bill Monroe
Ralph Stanley, A Mother’s Prayer
Chris Thile and Michael Staves, Sleep With One Eye Open – Jonathan
Will Win
Alison Krauss and Union Station, Paper Airplane - Jonathan, Dan, Ben, Tara, Sam
Jim Lauderdale, Reason and Rhyme
Steve Martin and the Steep Canyon Rangers, Rare Bird Alert
The Del McCoury Band, Old Memories: The Songs of Bill Monroe
Ralph Stanley, A Mother’s Prayer
Chris Thile and Michael Staves, Sleep With One Eye Open
Ben: I have no rationale for who should win, but I think we all know who will.
Jonathan: I can’t think of anything more foolhardy than betting against Alison Krauss at the Grammys.
Tara: What Ben said.
Sam: Honestly, I thought Krauss’ Paper Airplane was kind of tepid, while Rare Bird Alert was charming and energetic. Still, Krauss is the Jimmy Sturr of the Grammy bluegrass categories (all the polka fans should get that reference), so unless the voters decide to give Martin a lifetime achievement award of sorts, she’s got this one in the bag.
Dan: Steve Martin’s got a chance, but…
Best Folk Album
Should Win
The Civil Wars, Barton Hollow – Leeann
Steve Earle, I’ll Never Get Out of This World Alive - Jonathan, Sam
Fleet Foxes, Hopelessness Blues
Eddie Vedder, Ukelele Songs
Gillian Welch, The Harrow & The Harvest
Will Win
The Civil Wars, Barton Hollow - Jonathan, Ben
Steve Earle, I’ll Never Get Out of This World Alive - Dan
Fleet Foxes, Hopelessness Blues
Eddie Vedder, Ukelele Songs - Leeann, Sam
Gillian Welch, The Harrow & The Harvest
Ben: If my prediction of an Aldean-Clarkson victory for Duo/Group Performance comes true, I would expect that this is where voters will recognize The Civil Wars.
Jonathan: If NARAS were really committed to the idea of reducing the number of categories, they’d merge the Americana and Folk Album categories with Best Country Album and, considering how fast and loose they’re already playing with genre tags, they probably should do just that and let the chips fall where they may. Welch’s album is the only one of the five that really scans as “folk” music in any traditional sense, so who wins here will depend on whether or not voters are looking for something more traditional or contemporary. I’m guessing it’s the latter case, to the benefit of the Civil Wars.
Sam: Steve Earle released his best album in years with I’ll Never Get Out of This World Alive. The love songs were tender, the topical songs were sharp and insightful, and there weren’t any love songs about Condoleezza Rice. Eddie Vedder, on the other hand, is in Pearl Jam, so clearly he’s the odds-on favorite. Actually, Ukelele Songs got some pretty good reviews, and if Vedder’s vocals didn’t remind me so much of Bob Dylan’s current voice crossed with an injured goat, I might be more inclined to like it.
Dan: I can imagine a Fleet Foxes or Civil Wars win, but in the end, I’m still guessing Earle, the proven Grammy favorite.
Leeann: It’s sad that I care about this category far more than the Country Album category this year. I love The Civil Wars album the most, but the Welch, Vedder and Earl albums are great too. I’ll be happy to see any of them win, but I have a strange feeling that Vedder will take it.
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…)
The following is a guest contribution from frequent commenter and devoted Patty Loveless fan, Stephen Fales, who is better known to Country Universe readers as Steve from Boston.
Country Universe is a site where timeless artists like Patty Loveless are not merely acknowledged, but embraced and celebrated. So when Leeann invited me to review my favorite artist’s Brownfield Maine concert as a guest contributor, I jumped at the chance. Thank you so much Leeann, Kevin and Country Universe for giving me this opportunity. And Leeann and Bill, it was a joy and an honor to join you folks for dinner and watch the concert with you. You both made this already memorable concert experience even more unforgettable for me, along with patty-loveless.net associates Nicole, Richard and Patti, and the following day Bob and Barbara, Kevin. And also, Marcia Ramirez from Patty’s band. Many, many thanks to all.
Patty Loveless at the Stone Mountain Arts Center, Brownfield Maine
July 3, 2009
Nestled in the northern reaches of the Appalachian Mountains, Brownfield Maine’s Stone Mountain Arts Center is a beautiful and intimate 200 seat converted barn turned listening room. It has a warm and rustic ambiance, and a very helpful staff. The wood beam framed building makes for a rich acoustical setting, almost like a giant, wooden resonator box. It is a hard place to find out there in the Maine wilderness, but well worth the effort, especially to enjoy artists and legends like Patty Loveless, Ralph Stanley, Marty Stuart, Suzy Bogguss and Kathy Mattea. Think of it as a quest.
This beautiful mountain setting was a perfect match for Patty Loveless, the celebrated neo-traditional Country artist with the warmly expressive Appalachian alto. The Queen of Mountain Soul seemed right at home in the northernmost reaches of her domain, and seemed to absolutely love the venue.
Patty Loveless is a warmhearted and humble lady, she is a true artist with a good sense of humor and down-to-earth personality, the “anti-diva” as her drummer, Martin Parker, calls her. She takes the stage with very little fanfare, no high tech video introduction or ostentatious stagecraft, no bells, no whistles. She just quietly joins her band and begins to sing. It is all about the music with Loveless, and she lets the music speak for itself.
Still, there was plenty of excitement in the air at Maine’s Stone Mountain Arts Center, but the magic emanated entirely from Patty’s empathetic heart and her crystalline Mountain-bred voice. She sings from a place even deeper than the heart, Patty Loveless sings from the very depths of her Appalachian soul. No smoke or mirrors needed, indeed, they would have been out of their league competing with such natural, God given talent. Patty Loveless sings without a net, and her performance on July 3rd, 2009 was inspired and virtually flawless.
Loveless is the prototypical Country artist. She has refined and perfected her inherent gifts through years of hard work and perseverance, and has become a living link to Country’s Golden age. The artistic (but not the chronological) scope of her work reaches all the way back to the works of the Carter family and Bill Monroe, and forward to the finest modern Country and Bluegrass artists. Folks like Jim Lauderdale who penned two of the 18 songs in Patty’s concert lineup. She is a master interpreter of their work, and a keeper of America’s rich Country and Bluegrass cultural heritage. Patty Loveless is herself, a national treasure.
All that’s good and great about Country music is embodied in the voice of Patty Loveless, and she brings it all to bear on her first rate, soul-nourishing material. Her mentors and musical heroes, her east Kentucky upbringing and authentic Coal-miner’s daughter heritage can be heard in the soulful Mountain timbre of each and every note that she sings.
Her amazing repertoire consists of songs that have been carefully selected over many years by Patty herself and her husband/producer (and genuine musical genius) Emory Gordy Jr. And this they have done with little regard to what is trendy, and with every regard to what is timeless, or potentially so. Patty and Emory choose and write their material with a profound understanding and appreciation of the heritage and traditions of authentic Country and Bluegrass, a heritage she often speaks of with great reverence between her songs. And by following her heart in all of her musical choices, Patty Loveless connects deeply with the hearts of her listeners.
Loveless’ song lineup at SMAC was a mix of real, hard-core Country, and the finest contemporary Country. But the lack of any Mountain/Bluegrass songs that she could have included from her catalog kept this generous sampling from being truly representative of who she is as an artist. Still, a generous lineup of her always high-quality hit songs, and her featured Sleepless Nights mini-set of classic Country covers was fine compensation, and is the stuff of legend in the making.
Patty blazed into her set list with passion and precision, leaving her audience awestruck and breathless. In a very real and literal sense, this was a breathtaking performance from start to finish. At 52, Loveless is still very much an artist on an upward trajectory, and her voice just keeps getting even better with the years.
Some notable highlights: Her heart wrenching rendition of the Jim Lauderdale penned “You Don’t Seem to Miss Me”, for which she won a Vocal Event of the Year award with the legendary George Jones. Loveless has collaborated with some of Country music’s absolute finest male singers, including Jones and Vince Gill, and for live performances she needs a strong male voice to fill the void on a few of those songs. Thankfully, she has found the perfect vocal partner in her band member, Garry Murray, who sang the tricky Jones harmony with feeling and finesse.
“Nothing But the Wheel” is the perfect Country song, by the perfect Country singer. It moves with a forlorn tempo, like the car the protagonist drives away from her heartbreak: ” And 41 goes on and on, and the lights go winding in the dawn, and the sky’s the color now of polished steel…and the only thing I know for sure, is if you don’t want me any-more then I’m holding on to nothing but the wheel.” With Patty Loveless at the wheel, it just doesn’t get any better or more Country.
Patty’s interpretation of the George Jones gem, “If My Heart Had Windows”, is a song of deep gratitude for love gone right, and she sings this slow lover’s waltz with a torch style intensity that warms the heart and burns to the soul.
Patty’s knockout rockabilly rendition of “Why Baby Why” kicks off her Sleepless Nights classics set with high octane energy…Patty describes it as “George Jones meets Tina Turner” But it’s all Patty Loveless…Patty is far too humble to admit this, but she very often surpasses her musical heroes with her own interpretations, and her version and performance here was no exception.
Ray Price’s original version of “Crazy Arms” was charming, but the Loveless version is nothing less than enchanting. It is pure music magic. Pete Finney begins and ends the song with a palpable sting from his expressive steel guitar, but it’s Loveless’ soulful and soaring vocal that really penetrates the heart. When Patty and Emory recorded their version “Crazy Arms” they slowed down the tempo from a moderate shuffle to a torchy ballad. This serves Patty very well in concert by giving her the opportunity to find and wring out every last drop of emotion hiding in the potential of the original.
Some inspired phrasing enables Patty to put great emotional emphasis on the lyric “crazy dream” as in “this ain’t no cra-zy dream I know that it’s real” whereas Price’s original stressed the first word “This” instead. This subtle yet dramatic difference is but one example of the interpretive genius of Patty Loveless.
The title song of Patty’s Grammy nominated classic country covers album, Sleepless Nights, features Vince Gill, and once again Garry Murray came through with flying colors. Vocally flying with Patty Loveless cannot be easy, “why did you go, why did you go? Don’t you know, dont you know? I need you”, But Murray keeps right up and they both soar to the heights. There was lightning in the area during this concert, and there was a single crackle that seemed to come from the amplifiers during this song. But Patty never missed a beat, and the whole song came off perfectly. Patty Loveless is a force of nature, and she positively electrifies her audience.
Lead guitarist Tom Britt took his opportunity to shine during an extended and exciting slide guitar introduction to another Lauderdale song, “Halfway Down” He wailed away like a true rock star, building anticipation before the familiar opening chords of this Loveless hit. Likewise, Patty kept the excitement going full boil throughout this rip-roaring Mountain Rock song.
The set closer was “Blame It on Your Heart”, perhaps Patty’s most performed song of all. She sings it with an energetic enthusiasm that makes the song fresh for singer and listener, every single time. Indeed, this is the way that she approaches every performance, embracing each and every note like it was her first and only chance to shine and share her gift. This Harlan Howard song is just plain fun and children seem to love it as well, as they try to sing the tongue-twister chorus. Loveless is artist and entertainer in equal measure. No other singer on the scene today balances the two quite as well as Patty Loveless does, with the exception perhaps of Dolly Parton.
Patty’s stage presence is confident as one would expect from a seasoned veteran, but also warm, easy going, and playful. She has a natural Country charisma and even her speaking voice, her relaxed east Kentucky drawl is music to the ears of her audience. The stories of her musical heroes, and her accounts of her formative years as a young artist under the tutelage of the late great Porter Wagoner, and her 21 year membership in the Grand Ole Opry, are informative and entertaining.
Her audience interaction is often full of surprises. Observing the intimacy of the venue, Patty commented how folks in the front rows were so close, and jokingly suggested they grab an instrument and come on up onstage. “But don’t grab me”, she quipped. “Although on second thought, that may be fun” Then she quickly added, “don’t mind me, I’m just a real cut up and a harmless flirt”.
When she mentioned her husband Emory Gordy Jr., she received some noticeable applause from the audience. Patty responded saying that it was good that Emory had some fans here as well, and “I see a young lady here with an Emory (University) shirt, How many concerts is this now, Nicole?” to which Patty’s (and Emory’s) most devoted fan replied “199″, and Patty said with a smile, “Wow, I owe you one, don’t I?” Patty also said something about how she was glad Nicole was such a huge Emory fan, then added: “but don’t forget now, he’s MY man”, which also brought laughter from the audience.
After “Blame” Patty introduced her incredible band. It is clear that all these folks are friends and fans of each other, and Loveless herself can often be seen warmly grinning, holding her heart and slowly shaking her head from side to side with enraptured appreciation during her band’s various instrumental interludes. And proficiency on multiple instruments almost seems to be a requirement in the Loveless band. Marcia, Deannie and Garry all play at least three instruments, and it seems most everyone is schooled on mandolin in a way reminiscent of Bill Monroe’s old Bluegrass string band. The stage, as wide as it was, could barely contain the scope of this incredible array of talent.
There are only a few criticisms for this otherwise flawless concert. The sound of the drums for the first few songs was much too loud, and competed for volume with Loveless’ strong vocals instead of supporting them. But that sonic imbalance was pretty well corrected by the sound techs before too long.
Also, Loveless seemed pitch perfect all throughout, with only one or two apparent missteps. Just enough to remind us that this is a gifted flesh and blood human being, and not some kind of angelic troubadour.
After the band introductions and some more friendly banter with her audience, Patty eased into her encore performance of the Hank Williams standard “Cold, Cold Heart”. With sparse acoustic instrumentation and a little steel, it was almost a capella, and one could hear a pin drop between the notes. Patty’s version is chill-inducing perfection, tear producing and is especially potent live. And that evening her performance was especially transcendent, almost supernatural. I almost expected to see the ghost of Hank Williams take a seat and tip his hat to the finest female interpreter of his work, bar none. I would love to see what Loveless could do with ole Hank’s “I’m So Lonesome I Could Cry”. The audience, and even her own band, was transfixed and mesmerized. Band members Marcia and Deannie especially, looked on with smiles of amazement.
With the completion of each song in the lineup, Loveless and her band received enthusiastic applause, which she greeted each time with sweet smiles and a grateful “God Bless You.” And at the end, she received thunderous standing ovations, and seemed genuinely humbled and overwhelmed. She gathered her band with her outstretched arms, and then they all graciously bowed a collective bow.
Patty Loveless is the most authentic voice in Country music today. Her fidelity to tradition, her creative blending of her own brand of mountain and country music, and her artistic integrity have rightly earned her the title of “Queen of Mountain Soul” from the great Ralph Stanley himself. And performances like her Brownfield concert on Friday, and albums like the exquisite Sleepless Nights demonstrate that she has earned the title “Queen of Country Soul” as well.
Patty’s long awaited follow up to her acclaimed 2001 classic Mountain Soul is scheduled for release on September 29th. Mountain Soul II has every essential ingredient to be yet another Loveless-Gordy masterpiece, and should enrich her already exceptional set list considerably. Just in time for the next leg of her tour starting this Fall.
As for a possible return to the Stone Mountain Arts Center? Word has it that Patty loved it so much, and felt so welcome by her gracious hosts Carol Noonan (folk singer and songwriter), and her husband, their staff and her appreciative fans, that she hopes to return twice a year.
Both on record and in concert, the music of Patty Loveless befriends the listener. She may sing “Soul of Constant Sorrow” on her Mountain Soul album, but the music of Patty Loveless is a source of great and constant joy, as well as inspiration, catharsis and consolation for all with attentive, listening hearts.
-Steve from Boston
For more information on Patty Loveless, visit
Patty-loveless.net,
Which is the most comprehensive and up-to-date Patty Loveless fan site.
As a tribute of sorts to her father who loved traditional country music, Tanya Tucker has compiled a set of twelve songs that pays homage to country music’s past. While not an example of traditionalism herself as a recording artist, Tucker ably demonstrates that she is more than capable of stepping into the role on this project, but also shows that this is not her most comfortable position as an artist.
Produced by accomplished and respected producer, Pete Anderson (Dwight Yoakam), Tucker’s new covers album, My Turn, is full of both oft sung and lesser known gems. Tucker shines on up-tempo fare such as Buck Owens’ “Love’s Gonna Live Here” with guest help from Jim Lauderdale, Don Gibson’s “Oh, Lonesome Me”, Charley Pride’s “Is Anybody Goin’ to San Antone” and the album’s best track, Merle Haggard’s “Ramblin’ Fever.” With the support of snappy productions to match Tucker’s assured vocals, these interpretations aptly showcase Tucker’s spunk and are where she seems to fully connect, both vocally and emotionally, to the songs and their lyrics, which is likely why the straightforward “Ramblin’ Fever” works so well for her. “If someone said I ever gave a damn/Well, the damn sure told you wrong/’Cause I’ve had ramblin’ fever all along”, she growls with utmost believability.
The more inferior songs, admittedly, tend to be the slower tracks. While they are sung very well, there seems to be a palpable disconnect between the singer and the songs. Tucker’s version of Lefty Frizzell’s “I Love You A Thousand Ways” is, however, a welcome exception. It sticks close to the original, but Tucker’s relaxed vocal manages to help it stand out from the other slow compositions on the album.
As is naturally common on covers projects such as this, Pete Anderson applies a warm quality to the production, which is sonically pleasant, but perhaps not quite the fit that Tanya Tucker’s uniquely rough voice calls for. Instead of seamlessly blending with Anderson’s productions, Tucker’s vocals often seem to be muted, as if her voice needed to be turned up a bit in the mixes. Likewise, the choices for some of the guest vocalists (The Grascals and Rhonda Vincent) did not work especially well. Their rootsy vocals were more of a distraction than a compliment to the songs on which they appeared.
While it is likely unreasonable to compare this project to other albums of its ilk, it’s impossible not to hold it up to previous efforts that have been recently offered by her peers (Patty Loveless, Martina McBride, etc), especially since some of the same ground has been covered here. Tucker’s husky, and even flirtatious vocal style naturally sets this project apart from those of her fellow artists, but it is not as strong or cohesive as the others. Despite its few shortcomings, however, it is still a solid effort and deserves a high-profile spot in one’s collection of covers albums.
The nominations for the 8th Annual Americana Music Association Awards have been announced:
ALBUM OF THE YEAR
Real Animal, by ALEJANDRO ESCOVEDO
Written in Chalk, by BUDDY & JULIE MILLER
Jason Isbell & The 40 Unit, by JASON ISBELL & THE 40 UNIT
Midnight At The Movies, by JUSTIN TOWNES EARLE
ARTIST OF THE YEAR
ALEJANDRO ESCOVEDO
BUDDY MILLER
JUSTIN TOWNES EARLE
RAUL MALO
INSTRUMENTALIST OF THE YEAR
BUDDY MILLER
GURF MORLIX
JERRY DOUGLAS
SAM BUSH
NEW & EMERGING ARTIST
BAND OF HEATHENS
BELLEVILLE OUTFIT
JUSTIN TOWNES EARLE
SARAH BORGES
SONG OF THE YEAR
“Chalk,” written by JULIE MILLER, performed by BUDDY MILLER & PATTY GRIFFIN
“Country Love” by the GOURDS
“Homeland Refugee,” by JOE ELY, JIMMIE DALE GILMORE, and BUTCH HANCOCK, performed by the FLATLANDERS
“Rattlin’ Bones” by KASEY CHAMBERS & SHANE NICHOLSON, performed by KASEY CHAMBERS & SHANE NICHOLSON
“Sex And Gasoline,” by RODNEY CROWELL, performed by RODNEY CROWELL
DUO GROUP OF THE YEAR BUDDY & JULIE MILLER
FLATLANDERS
KASEY CHAMBERS & SHANE NICHOLSON
RECKLESS KELLY
Tanya Tucker has teamed with Saguaro Road Records, the same record company that hosted Patty Loveless’ stellar covers project, to create her own covers album entitled My Turn. The lead single is a cover of the Buck Owens’ classic, “Love’s Gonna Live Here.”
While it is impossible to predict if Tucker’s effort will be as well received as Loveless’ highly regarded album, “Love’s Gonna Live Here” provides a promising glimpse of the direction that the album is likely to take.
With “Love’s Gonna Live Here”, Tucker does not set out to reinvent this iconic song, but rather, pay tribute to a beloved classic. With the help of Jim Lauderdale’s very recognizable twang, Tanya’s signature husky voice leans into the Owens composition with decided grit and re-energizes a song that is always deserving of being revived.
fresh or new may be disappointed, but those who enjoy hearing polished tributes of old classics will be rather satisfied by the result of Tuckers latest outing.
Album of the Year
Record of the Year
Song of the Year
Best New Artist
Best Country Album
Best Country Solo Performance
Best Country Duo/Group Performance
Best Country Song
Best American Roots Song
Best Americana Album
Best Bluegrass Album
Best Folk Album
The following is a guest contribution from frequent commenter and devoted Patty Loveless fan, Stephen Fales, who is better known to Country Universe readers as Steve from Boston.
Tanya Tucker
Tanya Tucker has teamed with Saguaro Road Records, the same record company that hosted Patty Loveless’ stellar covers project, to create her own covers album entitled My Turn. The lead single is a cover of the Buck Owens’ classic, “Love’s Gonna Live Here.”
on 
on 
on 
on 
on 
on 
on