“It’s Just That Way” (Alan Jackson)

Written by Vicky McGehee, Kylie Sackley, and Keith Stegall

“I Gotta Get to You” (George Strait)

Written by Blaine Larsen, Jim Lauderdale, and Jimmy Ritchey

Just because you can sing the phone book doesn’t mean you should.

Grade for Both:  C

Listen: It’s Just That Way ; I Gotta Get To You

- 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?).

Song of the Year

Picks

• “Poker Face”, Lady GaGa & RedOne
• “Pretty Wings”, Hod David & Musze
• “Single Ladies (Put A Ring On It)”, Thaddis Harrell, Beyoncé Knowles, Terius Nash & Christopher Stewart
• “Use Somebody”, Caleb Followill, Jared Followill, Matthew Followill & Nathan Followill- Kevin, Dan, Tara
• “You Belong With Me”, Liz Rose & Taylor Swift

Predictions

• Miranda Lambert, “Dead Flowers”
• Martina McBride, “I Just Call You Mine”
• Taylor Swift, “White Horse” - Leeann
• Carrie Underwood, “Just A Dream” – Kevin, Dan, Tara
• Lee Ann Womack, “Solitary Thinkin’”

Best Country Collaboration with Vocals

Picks

• Dierks Bentley & Patty Griffin, “Beautiful World” - Leeann
• Kenny Chesney & Mac McAnally, “Down the Road”
• Brad Paisley & Keith Urban, “Start A Band”
• Carrie Underwood & Randy Travis, “I Told You So” – Kevin, Tara
• Lee Ann Womack & George Strait, “Everything But Quits” – Dan
  

Predictions

• Dierks Bentley & Patty Griffin, “Beautiful World”
• Kenny Chesney & Mac McAnally, “Down the Road”
• Brad Paisley & Keith Urban, “Start A Band” - Leeann
• Carrie Underwood & Randy Travis, “I Told You So” – Kevin, Tara, Dan
• Lee Ann Womack & George Strait, “Everything But Quits”

• Alison Brown, “Under the (Five) Wire”
• The Greencards, “The Crystal Merchant”
• Sarah Jarosz, “Mansinneedof” - Leeann
• Steve Wariner, “Producer’s Medley”

Predictions

• Alison Brown, “Under the (Five) Wire”
• The Greencards, “The Crystal Merchant”
• Sarah Jarosz, “Mansinneedof”
• Steve Wariner, “Producer’s Medley” - Leeann

Leeann: I think the nostalgia factor may give the push that the Wariner instrumental will need in order to win.

Best Country Song

Picks

• “All I Ask For Anymore”, Casey Beathard & Tim James
• “High Cost of Living”, Jamey Johnson & James Slater - Dan, Leeann, Tara
• “I Run to You”, Tom Douglas, Dave Haywood, Charles Kelley & Hillary Scott
• “People Are Crazy”, Bobby Braddock & Troy Jones
• “White Horse”, Liz Rose & Taylor Swift - Kevin
  

Predictions

• “All I Ask For Anymore”, Casey Beathard & Tim James
• “High Cost of Living”, Jamey Johnson & James Slater
• “I Run to You”, Tom Douglas, Dave Haywood, Charles Kelley & Hillary Scott
• “People Are Crazy”, Bobby Braddock & Troy Jones
• “White Horse”, Liz Rose & Taylor Swift - Leeann, Kevin, Tara, Dan

Kevin: Swift’s high profile benefits her most in the songwriting categories. It was no big surprise to see Shania Twain win this award for “You’re Still the One”, but when she repeated the following year for “Come On Over”, it proved how much star wattage can help in this race.

Leeann: I’m not going to bet against Taylor Swift, but I’d sure like to see “High Cost of Living” win this one.

Dan: It’s nice to know that NARAS is still willing to nominate a great non-hit. Not so sure they’re willing to give one a trophy, though.

Tara: What they said.

Best Country Album

Picks

• Zac Brown Band, The Foundation
• George Strait, Twang - Leeann, Kevin, Tara, Dan
  
• Taylor Swift, Fearless
  
• Keith Urban, Defying Gravity
• Lee Ann Womack, Call Me Crazy

Predictions

• Zac Brown Band, The Foundation
• George Strait, Twang
• Taylor Swift, Fearless – Dan, Leeann, Kevin, Tara
• Keith Urban, Defying Gravity
• Lee Ann Womack, Call Me Crazy

Kevin: It would be great to see Strait repeat, but it’s very rare for a country album to lose this race when it’s also nominated in the general Album field. It’s happened only once – 1999 – when Shania Twain’s Come On Over shockingly lost to Wide Open Spaces by the Dixie Chicks.

Leeann: I like the Strait album the most, but Taylor Swift is an undeniable force to be reckoned with.

Dan: Technically, I like the Swift album the most, but I’d love to see Strait win this particular award. He challenged his very established formula on Twang, and it worked. Plus I’ve never been fully comfortable calling Fearless a country album.

Tara: It’s Taylor Swift’s world right now, and we’re just living in it. Even you, Mr. Strait.

Best Americana Album

Picks

• Bob Dylan, Together Through Life
• Levon Helm, Electric Dirt
• Willie Nelson & Asleep At the Wheel, Willie and the Wheel – Leeann, Dan, Tara
  
• Wilco, Wilco (The Album)
• Lucinda Williams, Little Honey

Predictions

• Bob Dylan, Together Through Life - Dan
  
• Levon Helm, Electric Dirt
• Willie Nelson & Asleep At the Wheel, Willie and the Wheel – Leeann, Tara
  
• Wilco, Wilco (The Album)
  
• Lucinda Williams, Little Honey

Leeann: I particularly want Willie Nelson and Asleep at the Wheel to win this award, and I think they have a very good chance of doing it, too.

Dan: All really solid albums, and so many critical faves that it’s a hard call on the prediction. I’d love to see Nelson & Co. get their due for this long-in-the-making project.

Tara: Masterful album.

Best Bluegrass Album

Picks

• Jim Lauderdale, Could We Get Any Closer? – Leeann
• Steve Martin, The Crow / New Songs For The Five-String Banjo
• Michael Martin Murphey, Buckaroo Blue Grass
• Bryan Sutton and Friends, Almost Live
• Rhonda Vincent, Destination Live

Predictions

• Jim Lauderdale, Could We Get Any Closer?
• Steve Martin, The Crow / New Songs For The Five-String Banjo – Leeann
• Michael Martin Murphey, Buckaroo Blue Grass
• Bryan Sutton and Friends, Almost Live
• Rhonda Vincent, Destination Live

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.

Tanya Tucker
My Turn

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.

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

The awards will be given out at the Ryman Auditorium in Nashville on September 17. Buddy Miller and Jim Lauderdale will serve as hosts.

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.

Admittedly, those who are looking for something 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.

Written by Buck Owens

Grade: B

Listen: “Love’s Gonna Live Here”

Now, I don’t place inordinate value on what radio decides worthy of massive spins, but I do think that Strait’s hit singles are usually much better than the album cuts that aren’t sent to radio. Even though I have all of his albums, only two of the tracks on this list weren’t released as singles.

With more than thirty albums to his credit, I’m sure that there are many songs that readers love which I haven’t included here. Here are my favorite songs by George Strait.

#25
“Blue Clear Sky”
Blue Clear Sky, 1996

This is the type of song that Strait is perfect for. He can elevate a standard uptempo country love song into something special. When he wraps his voice around the hook – “Surprise! Your new love has arrived!” – it’s the sound of weathered experience with a shot of unrestrained joy.

#24
“It Ain’t Cool to Be Crazy About You”
#7, 1986

You can’t be smooth and sophisticated when you’re dealing with a heartbreak. “It ain’t suave or debonair to let you know I care.” In lesser hands, this would be delivered in a straightforward way. But Strait adopts the smooth styling of a pop balladeer throughout this record. If Frank Sinatra had ever made a country record, it would’ve sounded just like this.

#23
“Troubadour”
Troubadour, 2008

Perhaps the secret to Strait’s longevity is that his image of himself hasn’t changed, despite his legendary success. He still sees himself as just getting started. “I was a young troubadour when I rode in on a song, and I’ll be an old troubadour when I’m gone.”

#22
“I Hate Everything”
50 Number Ones, 2004

This is the kind of conversation one normally avoids at a bar, so credit where due for Strait’s character here, who is willing to listen to man who has been left for another, and now hates everything about his life. Interestingly, the only thing he doesn’t hate is the woman who left him for another man, and for a beautiful reason: “If it wasn’t for my kids, I’d hate my ex-wife.”

#21
“Easy Come, Easy Go”
Easy Come Easy Go, 1993

George Strait has always been well-matched with Dean Dillon songs. This low-key requiem for a failed relationship is so calm and collected, it makes breaking up sound easy to do.

#20
“Haven’t You Heard”
Something Special, 1985

A campy classic that would’ve made Porter Wagoner proud. Strait rings the doorbell of the married woman he’s been seeing on the side, the day after convincing her to leave her husband. That alone takes gumption. Add on that the man was a friend of his, and he’s just staring off in the distance.

His crying little boy answers the door: “Haven’t you heard? Daddy’s gone crazy. Haven’t you heard? Mama is gone. And either way, I am the loser. And I’ve been crying all night long.”

#19
“I Cross My Heart”
Pure Country, 1992

This was an instant wedding standard upon its release, rivaled only by Shania Twain’s “From This Moment On” among the country songs I’ve heard at nuptials. It’s leagues above similar numbers by John Michael Montgomery and Doug Stone.

#18
“You Can’t Make a Heart Love Somebody”
Lead On, 1994

A heartbreaker. The man pops the question at the dinner table, and the woman starts to cry. “I knew this was coming,” she says, “and I’m sorry.” She explains that she’s done everything she could to fall in love with him, but her heart refuses to comply.

#17
“Wrapped”
It Just Comes Natural, 2006

If Strait wanted to make an entire album of Bruce Robison covers, I’d be completely on board. As charming as Robison’s original recording is, Strait’s nuanced performance infuses greater depth into the song.

#16
“Baby Blue”
If You Ain’t Lovin’, You Ain’t Livin’, 1988

This song was released not too long after Strait’s daughter perished in a car accident at the age of thirteen. While the song was clearly written as a love song, Strait’s tender performance suggests he’s coming from a paternal place on this one, especially as he sings, “Like a breath of spring she came and left, and I still don’t know why.”

#15
“Write This Down”
Always Never the Same, 1999

A ridiculous song with great entertainment value. Strait rattles off a myriad of ways that his leaving lover can record the message, “I love you and I don’t want you to go.” My personal favorite is when he suggests,  “stick it on your ‘frigerator door.”

#14
“The Chair”
Something Special, 1985

This might be the most well-known of Strait’s early hits, perhaps because of the song’s clever conceit. It was one of the first indications that he had a taste for unconventional song structure. As good as it is, I suspect that if he’d come across this later in his career, his performance of it would be more sophisticated.

#13
“How ‘Bout Them Cowgirls”
It Just Comes Natural, 2006

What seems like a pedestrian celebration of cowgirls on the surface features several interesting layers underneath, including social commentary on female independence and the increasing urbanization of the American West.

#12
“If I Know Me”
The Chill of an Early Fall, 1991

To be fair, this song is clearly derivative of K.T. Oslin’s “Hold Me”, which had topped the charts two years earlier. But that doesn’t detract from its emotional impact as a portrait of a married couple that is in it for the long haul.

#11
“I’ve Come to Expect it From You”
Livin’ it Up, 1990

A deliciously bitter performance. Strait is all raw anger and exposed nerves here, deriding his on-again, off-again lover, but reserving his greatest anger for himself: “I wouldn’t treat a dog the way you treated me, but that’s what I get. I’ve come to expect it from you.”

#10
“We Really Shouldn’t Be Doing This”
One Step at a Time, 1998

One of my favorite CMA moments ever involves Strait’s performance of this totally out-there Jim Lauderdale song. After he performs it with gusto and is basking in the applause, the camera cuts to a bewildered Reba McEntire, who politely claps but is unable to mask her complete confusion regarding what she’s just seen. Watch it here.

#9
“So Much Like My Dad”
Holding My Own, 1992

Like so many of Strait’s best songs, this one takes an unexpected turn along the way. It starts off as a touching Father’s Day number, as Strait sits reminiscing with his mother about his childhood. Growing up, there were so many little things he did that reminded her of his father.

The song then switches gears: “She said she’s gonna leave me, mama.” As he confesses that the love of his life is leaving him behind, he holds on tight to the only sliver of hope that he’s been able to find. “If I’m so much like my dad, there must have been times you felt her way. So tell me, word for word, what he said that always made you stay.”

#8
“I Met a Friend of Yours Today”
Lead On, 1994

He comes home from work late one night. “Can supper wait?” he asks. “I guess I’ve lost my appetite.” He’ll take a drink, though. He needs a strong one to get through the story of his day, which includes meeting the man who his wife has been seeing on the side. He hears the man say her name at the bar, and Strait “can tell the stranger there, he knew you much too well.”

#7
“You Know Me Better Than That”
Chill of an Early Fall, 1991

We’re all good at putting our best foot forward when we meet someone knew, but the truth is revealed eventually. Here, Strait is telling his old flame about his new one, a woman “who is in love with an image time is bound to see through.”

#6
“Meanwhile”
Always Never the Same, 1999

This beautiful waltz begins as a tribute to the woman he’s dancing with. It’s clear that every man wishes they could take his place, but the woman wants nobody but him. He thinks to himself how lucky he is, but then the chorus reveals: “Meanwhile, back in the back of my memory, you’re still dancing with me, and I’m holding you once again.” Even as he takes his current lover home, and they make their way upstairs, it’s his former lover on his mind.

#5
“Today My World Slipped Away”
Carrying Your Love With Me, 1997

Strait’s gorgeous reading of this song rivals Vern Gosdin’s original hit recording from 1983. A man exits the court where his divorce has been finalized, and he heads straight to church. He cries to God, “Tonight I’m alone and afraid because today my world slipped away.”

#4
“Love Without End, Amen”
Livin’ it Up, 1990

The secret of a father’s love is passed down through the generations, as a man hears it from his own father as a child, speaks the same words to his equally rebellious son years later, and then hears the words in a dream of heaven, spoken to him by Jesus: “Daddy’s don’t just love their children every now and then. It’s a love without end, amen.”

#3
“Lead On”
Lead On, 1994

Two weary hearts, each hurting from their past mistakes, take cautious steps toward something new, the desire for love outweighing the fear of failing at it again. They agree to “take this matter somewhere else, and pick up right where everything went wrong. Lead on.”

#2
“Baby’s Gotten Good at Goodbye”
Beyond the Blue Neon, 1989

When I first began listening to country music, I discovered most of it through watching CMT. This was my introduction to George Strait, and it was my favorite songs of his for many years. It’s deceptively simple. A man watches his lover pack to leave him for the umpteenth time, but this is the first time that she didn’t cry while doing it. “That’s why I’m sitting on the front step, staring down the road. Wondering if she’ll come back, this time I don’t know. After she packed, when she looked back, there were no tears in her eyes. That’s got me worried, thinking maybe my baby’s gotten good at goodbye.”

#1
“You’ll Be There”
Somewhere Down in Texas, 2005

This one floored me upon its release, and it’s impact hasn’t lessened since. It begins as a philosophical reflection on the meaning of existence, and what you’ll need to live a meaningful life. But by the end of the first verse, he’s reflecting on what heaven will be like: “We’ll climb up on the mountain, y’all. We’ll make our voices ring. And those who’ve never tried it will be the first to sing.”

That would be enough to elevate it into one of my favorite songs, but then it’s revealed that he’s singing to a departed soul. “I’ll see you on the other side, if I make it.”  He’s not certain that he will, even though he’s trying as hard as he can. So he asks the person watching over him to tell God that “I might need a hand to see you both someday.”

Strait knows that there can be as much of a life lesson in a humorous aside as there is in a long-winded treatise. “You don’t bring  nothing with you here, and you can’t take nothing back. I ain’t never seen a hearse with a luggage rack.” I’ve read countless works of philosophy and theology, and have rarely come across anything as enlightening and profound as that couplet.

#10

Jim Lauderdale & The Dream Players, Honey Songs

No matter how much honey you put in the mix, the ragged words and vocals of Jim Lauderdale will cut through.  The glorious contrast between Lauderdale and his sonic surroundings make for a fascinating listen.

#9

Joey + Rory, The Life of a Song

It’s rare for any act to make a debut album without compromise, let alone one that hails from a reality competition show.   This is pure, straight off the back porch joy.

#8

Kasey Chambers & Shane Nicholson, Rattlin’ Bones

A pure roots album with a progressive edge, the best of its kind since the Dixie Chicks moved to L.A.

#7

Lee Ann Womack, Call Me Crazy

While it doesn’t reach the heights of There’s More Where That Came From, there are some fine moments here that are on par with Womack’s best work, especially the passive-aggressive “Either Way” and the Wynette-worthy “If These Walls Could Talk.”

#6

Patty Loveless, Sleepless Nights

Effortlessly excellent.   Loveless is so in her element here that it’s a wonder that it took more than two decades to record this in the first place.   A wonderful treat to feast on while we wait for her next proper studio album.

#5

Charlie Louvin, Sings Murder Ballads and Disaster Songs

Historical music performed by one of the greatest figures in musical history.

#4

Dolly Parton, Backwoods Barbie

Ignore all the hype about this being her return to mainstream country.   No matter what musical template she currently fancies, a Dolly Parton album rises and falls on the strength and quantity of her songwriting contributions.   Here, she wrote most of the album, and the best of them (“Better Get to Livin’”, “Cologne”, “Only Dreamin’”, “I Will Forever Hate Roses”) are as good as anything she’s written this decade.

#3

Emmylou Harris, All I Intended to Be

One of Harris’ saddest albums to date, it’s also her strongest collection since 1995′s landmark Wrecking Ball.   Sorrow has rarely sounded as beautiful as it does on “Gold”, and Tracy Chapman’s cautionary tale “All That You Have Is Your Soul” is transformed into an older woman’s regretful lament.  The pain of losing a loved one to death forms the foundation of two of the most harrowing tracks, with “Kern River” and “Not Enough” being two of Harris’ most heartbreaking performances ever.  The young girl who sang “Boulder to Birmingham” sounds bright-eyed and cheerful in comparison.

#2

Sugarland, Love on the Inside (Deluxe Fan Edition)

I’m trying to remember the last time a country album made me smile with such joy and surprise, and I think I’d have to go all the way back to Shania Twain’s Up!, released six years earlier than Sugarland’s new set.     There isn’t an album this year that I truly enjoyed listening to more, and it keeps me coming back.   Even though I still enjoy the thrill of “We Run” and “Love”, and “It Happens” and “Steve Earle” still make me grin, it’s the album’s heavier moments that have hooked me the most deeply.   “Keep You” and “Very Last Country Song” both deserve to follow “Stay” into country music immortality.    I just can’t wait to see what the duo that created them will do next.

#1

Kathy Mattea, Coal

Mattea may not be a coal miner’s daughter, but hailing from West Virginia, the mining industry played a prominent role in the lives of her ancestors.   Her collection of coal mining ballads isn’t successful because of the authenticity she brings to these songs, but rather the sincerity with which she performs them.     By singing the stories of the coal mining men and their families, she preserves their history and keeps alive their contributions to the growth of our country.

The compensation that they received for their work was far less than the profit that was made from their efforts, and too many paid the ultimate sacrifice, their lives ended by their livelihood.   But there are lessons to be learned from their experiences, and as recent mine disasters have shown, they’re still relevant today.   Perhaps that’s why Mattea’s album manages to communicate a sense of urgency, even while she sings material from days gone by.

Okay, you get it. Let’s do this. Va-VOOM!

#10

Dailey and Vincent, Dailey and Vincent

I typically lean progressive in my bluegrass tastes, but there’s simply no arguing with this dynamic twosome, whose debut finds them ripping into a straight-ahead traditional style with such crazy-polished singing, playing and writing that they practically become the new standard. Excellent.

#9

Kathy Mattea, Coal

Confession: I wasn’t quite sure how to take this one. Although I like Kathy Mattea’s voice and generally love concept albums, I had trouble getting into this set of mining-related songs as a whole, which may be because I personally have trouble digesting so many bare-bones story songs in one sitting, or may be because the album itself becomes a bit monotonous after a while. It’s kind of hard to say, and I finally decided that it’s just the sort of thing I personally have to be in the right mood for. Objectively speaking, though, I think what Mattea and producer Marty Stuart have achieved here is easily one of the most fully realized artistic expressions of 2008, and it’s pretty hard to gripe about on a song-by-song or sonic basis. So #9 feels about right for me.

#8

Reckless Kelly, Bulletproof

Randy Rogers, Wade Bowen and Cody Canada take note: Reckless Kelly’s latest set showcases just how tersely effective the whole “country-nodding Texas rock” shtick can be when you pay the same attention to developing compelling lyrical ideas that you do to ‘tude (and I say that with love, because I enjoy work from all of the acts mentioned above). Bonus points for the year’s best album cover.

#7

Hal Ketchum, Father Time

I’ve never heard a country album that sounds quite like this one. The compositional influences range from flamenco to funky gospel to traditional country, the arrangements are warmly acoustic and gently percussive, Ketchum has now fully embraced the airy quality in his voice, and some of his lyrics here are nothing short of poetic. The result is a batch of songs which sound so effortless at times that they literally seem to float over you like wind – and that’s before you even realize how deep some of them go. Just take a listen; it’s wild.

#6

Jim Lauderdale & The Dream Players, Honey Songs

You could forgive Jim Lauderdale if he showed signs of wear on Honey Songs, his fourth release in a span of 18 months. Instead, he’s produced yet another fresh package, this time by cherry-picking the best parts of rock ‘n’ roll’s roots and throwing ‘em into his ever-sharp traditional songwriting blender.

His tunes have never been more perfectly framed, either, which you can attribute to the aptly-named “Dream Players,” a droolworthy backing line-up consisting of guitarist James Burton and drummer Ron Tutt (both Elvis Presley vets), pianist Glen D. Hardin and pedal steeler Al Perkins (both renowned session players), and bassist Garry Tallent (of Springsteen’s E. Street Band), not to mention Emmylou Harris, Kelly Hogan, Patty Loveless and Buddy Miller on vocals. If it’s been a while since you heard an instrumental part that sounded like it was actually written to complement its song, rather than just create sound, check out the melancholy electric/steel duet in the intro to “Borrow Some Summertime.”

#5

Peter Cooper, Mission Door

The debut moonlighting effort from music journalist Cooper seems to occupy its own special little place in the music world. It’s a place where life’s little moments seem to spill accidentally into song, where nothing is overstated in some strained attempt to make an impact because the simple truth provides impact enough. Mission Door feels like a completely personal work from start to finish, and yet its storytelling is vivid and nuanced enough to tease out the sort of universal relevance you’re probably more used to having spoon-fed to you if you’re a regular radio listener.

Of course, it’s a bit shady to call it all “country” – “detail-oriented folk with tastefully prominent steel guitar” might be more appropriate in a lot of spots – but the Tom T. Hall and Kris Kristofferson storytelling traditions Cooper professes to follow (and does, ably) places it close enough for the purposes of this list. I really like all of the albums I’ve cited here, but this is the only one I take something new from each and every time I listen. I can’t recommend it enough.

#4

Ralph Stanley II, This One is Two

Nothing but one great, bluegrass-flavored traditional country tune after another, all with effectively plain performances by Stanley. If that sounds like your kind of thing, you’re probably gonna like it. If not, you probably won’t. Pretty straightforward.

#3

Justin Townes Earle, The Good Life

It’s hard to believe this is supposed to be a debut album. Earle’s mastery of classic American song styles is staggering, this set of tunes is nicely balanced in melodic and lyrical variety, and he’s already found producers who know how to capture the historical savvy of his stuff without making him sound dated. I can’t wait to see what he does next.

#2

Kasey Chambers & Shane Nicholson, Rattlin’ Bones

Song-for-song, I think it’s one of the one of the strongest albums I’ve ever heard. Chambers and Nicholson have brilliantly synthesized Appalachian folk, bluegrass, traditional country, and Fleetwood Mac-ish acoustic pop for a collection of songs which are uniformly catchy, lyrically potent (if sometimes overly abstract), and gorgeously arranged. It doesn’t quite hang together as a cohesive album for me, which is why it’s ranked where it is, but no album I heard in 2008 has more would-be classics per capita.

#1

Jamey Johnson, That Lonesome Song

It’s easy to love That Lonesome Song for what it’s not. With mainstream country at what could well be an all-time artistic low, with fans and even some de facto music critics blissfully unaware of where the genre came from musically, with radio recycling the same five life-affirming themes over and over and record labels playing exclusively to earn radio’s favor, it’s tempting to canonize Johnson’s latest offering just for being so damn counter-cultural, for daring to sound negative or mention “cocaine and a whore” or express sentimentality without smashing through the the fourth wall to manipulate the easy listener.

But That Lonesome Song is much more than a collection of tasteful avoidances; it is an album’s album, a set of songs which are strong on their own but combine to illustrate something much greater. Over the course of his fourteen tracks, Johnson embodies a character who seems to endure lingering sadness in seemingly every aspect of his life, who searches for its antidote in drugs and relationships and humor and vacations and passive-agressive revenge and the past and the future, all to no discernible avail. You could interpret the album’s final moment, the Here-I-Am-World “Between Jennings and Jones,” as Johnson’s last, beautifully inconclusive answer to himself: he finds release from his demons through country music. Country music would do well to use him similarly.

#10

Jim Lauderdale & The Dream Players, Honey Songs

You could forgive Jim Lauderdale if he showed signs of wear on Honey Songs, his fourth release in a span of 18 months. Instead, he’s produced yet another fresh package, this time by cherry-picking the best parts of rock ‘n’ roll’s roots and throwing ‘em into his ever-sharp traditional songwriting blender. His tunes have never been more perfectly framed, either, which you can attribute to the aptly-named “Dream Players,” a droolworthy backing line-up consisting of guitarist James Burton and drummer Ron Tutt (both Elvis Presley vets), pianist Glen D. Hardin and pedal steeler Al Perkins (both renowned session players), and bassist Garry Tallent (of Springsteen’s E. Street Band), not to mention Emmylou Harris, Kelly Hogan, Patty Loveless and Buddy Miller on vocals. If it’s been a while since you heard an instrumental part that sounded like it was actually written to complement its song, rather than just create sound, check out the melancholy electric/steel duet in the intro to “Borrow Some Summertime.” – Dan Milliken

#9

Sugarland, Love on the Inside (Deluxe Fan Edition)

There has been no shortage of country acts that incorporate arena rock into their spin on country music, but on their third album, Love on the Inside, Sugarland manages to do so without the sound overwhelming the country identity of the work.    At its heart, this is an acoustic country record, with most of the songs beginning with bare-bones instrumentation and more than a few staying that way.

But the clean and fresh production would all be for naught if the material wasn’t so strong, and Jennifer Nettles and Kristian Bush have collected their strongest batch of songs to date, with “Already Gone”, “Very Last Country Song”, “Keep You” and “We Run” only increasing in charm and power upon repeated listenings.   The Deluxe Fan Edition is the version to go for, as the extra songs prove a fascinating listen.   They’re almost fully formed and make you wonder why they weren’t deemed worthy of being on the regular album, until you notice that the hook isn’t quite strong enough or the lyric starts to fall apart at the bridge.    Such tracks are usually unearthed years later, if at all, so it’s an extra treat to hear the good material that didn’t warrant inclusion on a great album.  – Kevin J. Coyne

#8

Peter Cooper, Mission Door

While the melodies on his first album, Mission Door, are enough to draw you in, it’s Peter Cooper’s provocative and insightful lyrics that take you by surprise on this folk infused, steel guitar laden album. Cooper either wrote or co-wrote ten out of the twelve tracks that explores such weighty topics as racism and poverty. He enlists the help of Nanci Griffith and Todd Snider, his two favorite singers, on the album’s stand out title track, along with recording his own mellower version of “Thin Wild Mercury”, which he co-wrote with Todd Snider for Snider’s The Devil You Know album.

The best and most powerful song on the album, however, is “715 (For Hank Aaron), a song that discusses the duality of Aaron being a revered baseball player and an oppressed black man. This mostly ignored album that sounds like a mix of Darrell Scott and Todd Snider, with lots of steel guitar thrown in for good measure, is one of the year’s most intriguing albums. – Leeann Ward

#7

Lee Ann Womack, Call Me Crazy

When There’s More Where That Came From arrived in early 2005, Lee Ann Womack was lauded for her fidelity to traditional country music. Commercial plaudits were harder to come by, and the album only sold gold. Unsure of her next step, she abandoned country stardom for a time.  The return is rather terrific; Call Me Crazy slows down the tempo, with producer Tony Brown complementing Womack’s once-in-a-generation warble by laying off the busy production of most Music Row releases. Exploring left-for-dead romances (“Either Way,” “If These Walls Could Talk”) or deep-rooted loneliness (“Have You Seen That Girl,” “I Think I Know”), Womack slides beautifully across every melancholic melody. – Blake Boldt

#6

Emmylou Harris, All I Intended to Be

Emmylou Harris’ angelic, yet well-worn voice and ability to timelessly interpret a lyric puts her in a class of her own. Yet while she can sing the phone book and make it sound like scripture, All I Intended To Be rises above, seamlessly blending sublime covers of well-chosen songs, including Merle Haggard’s “Kern River,” Tracy Chapman’s “All That You Have Is Your Soul”, Mark Germino’s “Broken Man’s Lament,” Patty Griffin’s “Moon Song” and Billy Joe Shaver’s “Old Five and Dimers Like Me,” and sensitive originals, with a graceful touch. The production is spare, but it only serves to highlight Harris’ moving interpretations. – Lynn Douglas

#5

Justin Townes Earle, The Good Life

Justin Townes Earle is the son of Steve Earle, but his first complete project is mostly independent of his father’s musical influences.  On The Good Life, Earle embraces various types of music, but mainly acoustic and traditional country music. For example, “Hard Livin’” opens the album with an incredibly catchy honky tonker that flows so naturally that it sounds like a cool jam session rather than a rigid studio recording.

While various topics are explored on this album, The prevailing theme of The Good Life seems to be loneliness. Townes Earle’s rich, warm baritone perfectly accentuates those melancholy feelings without making the album feel too dramatic. Moreover, the album manages to sound both nostalgic and fresh, which should appeal to traditionalists and country music newcomers alike.  - Leeann Ward

#4

Patty Loveless, Sleepless Nights

To justify their existence, collections of cover songs should accomplish one of two things: preserving the legacy of songs that are in danger of being forgotten, or bringing something new to the material through the artist’s interpretations.   Sleepless Nights accomplishes both.   It’s no secret that Patty Loveless possesses one of the finest voices in the history of country music, and the ache in her vocals make her a perfect match for the songs collected here, both those that are well-known today  (“Cold, Cold Heart”, “He Thinks I Still Care”) and those that have unfairly faded into obscurity (“There Stands the Glass”, “Color of the Blues.”)

And while the influences of traditional vocalists like Ralph Stanley and George Jones are all over this record,  Loveless’ phrasing and Emory Gordy, Jr.’s production are heavily influenced by the work of Linda Ronstadt, Gram Parsons and Emmylou Harris.    The songs are presented cleanly and reverently, without a Nashville Sound flourish to be found.    The title track sounds like a glorious revival of the Harris version found on Pieces of the Sky.   The result is an essential album that preserves not only the traditional songs that formed the foundation of modern country music, but the legacy of those country-rockers who lovingly revived it decades later.  – Kevin J. Coyne

#3

Jamey Johnson, That Lonesome Song

It’s easy to love That Lonesome Song for what it’s not. With mainstream country at what could well be an all-time artistic low, with fans and even some de facto music “critics” blissfully unaware of where the genre came from musically, with radio reycling the same five life-affirming themes over and over again and record labels playing exclusively to earn radio’s favor, it’s tempting to canonize Johnson’s latest offering just for being so damn counter-cultural, for daring to sound negative or mention “cocaine and a whore” or express sentimentality without smashing through the the fourth wall to manipulate the easy listener.

But Johnson’s latest is much more than a collection of tasteful avoidances; it is an album’s album, a set of songs which are strong on their own but combine to illustrate something much greater. Over the course of his fourteen tracks, Johnson embodies a character who endures lingering sadness in seemingly every aspect of his life, who searches for its antidote in drugs and relationships and humor and vacations and passive-agressive revenge and the past and the future, all to no discernible avail. You could interpret the album’s final moment, the Here-I-Am-World “Between Jennings and Jones,” as Johnson’s last, beautifully inconclusive answer to himself: he finds release from his demons through country music. Country music would do well to use him similarly. – Dan Milliken

#2

Kathy Mattea, Coal

In a time when most songs about the poor working man are coated in sugar and wrapped in uplifting lyrics, Kathy Mattea brings us an album of poignant honesty, heart wrenching despair and searing realness. With Coal, the West Virginia-raised Mattea gives a voice to the coal miner, bringing us closer to his life and experiences, and reminding us all of the blood, sweat and tears that went into the building of America.

Produced with a judicious and loving hand by Marty Stuart, Coal touches on all facets of the coalmining experience. The album embraces songs about the horror of black lung (Hazel Dickens’ “Black Lung” and Billy Edd Wheeler’s “Red Winged Blackbird”), the modern destruction of a way of life (Wheeler’s “Coming of the Roads”), the hopelessness brought on by economic hardship (Jean Ritchie’s “The L&N Don’t Stop Here Anymore” and “Blue Diamond Mines” and Darrell Scott’s “You’ll Never Leave Harlan Alive”) and the back-breaking mining experience itself (Merle Travis’ “Dark as the Dungeon”). Interwoven all together, these songs, both contemporary and traditional, paint a heartbreakingly bleak picture of a way of life lived out of necessity, and not out of choice.

By making an album from her heart, inspired by real life tragedies and her Appalachian roots, and with the sole focus on doing justice, not only to the songs, but to the people that lived them, Mattea has created a timeless classic. – Lynn Douglas

#1

Kasey Chambers & Shane Nicholson, Rattlin’ Bones

Last year’s critically-beloved duet, Robert Plant & Alison Krauss, transported us to a sort of hillbilly nirvana. This year’s entry, Kasey Chambers & Shane Nicholson grounds us with a more down-to-earth approach.  Rattlin’ Bones, an acoustic-driven set, resonates with its tight harmonies and terrific song choice.

Blending Appalachian music with blues and country, the duo gracefully glides through this exquisite exercise. Most notably on ”One More Year” and “No One Hurts Up Here,” Chambers transcends heartache with her tender vocal. With husband Nicholson, whose hardy tenor supplies its share of lonesome, she echoes her desires and doubts.  ”Once in a While” and ”Sweetest Waste of Time” are vulnerable moments where the pair stands witness to a dying relationship, and the title track is a dark, depressing look at an untameable loneliness. Love and life are full of tension and trouble, but these two, even through the darkness, hint that rich rewards lie beyond the sorrow. – Blake Boldt

Honorable Mentions

These albums didn’t make our final list, but are also recommended.

Joey + Rory, Life of a Song
Little Big Town, A Place to Land
Charlie Louvin, Sings Murder Ballads and Disaster Songs
Dolly Parton, Backwoods Barbie
Reckless Kelly, Bulletproof
Ralph Stanley II, This One is Two