The list of distinguished artists who have recorded “Song for the Life” is a long one, but Alan Jackson is the only one who managed to make a hit out of it.
That radio played this pensive and philosophical ballad at all is a testament to Jackson’s incredible popularity at the time. Its mere presence on the airwaves elevated the genre for the handful of weeks it was in heavy rotation.
When you have some time, check out the other versions of this by the Seldom Scene, Johnny Cash, Jerry Jeff Walker, Alison Krauss, John Denver, Waylon Jennings, Kathy Mattea, and its writer, Rodney Crowell. It’s one of those songs that reveals quite a bit about where a singer is in their life and how they feel about the meaning of it all.
For my money, Jackson’s reading is the best, though I suspect he’d hit it even further out of the park if he recorded it again today.
Along with all the other traditions that come with Christmas time – watching your favorite TV specials, getting together with family on Christmas Day, wondering how you ever lived without a pre-lit Christmas tree - one of the best ones involves breaking out the collection of Christmas music.
As a kid, it meant that the Bing Crosby and The Chipmunks Christmas albums make their way out of the buffet draw and take up a month-long residence on my mom’s stereo. Now, it means flipping over to my Christmas songs playlist on iTunes, where Patty Loveless, Dwight Yoakam and The Chieftains all are a part of the family’s Christmas soundtrack.
Seeing as how Christmas has more beloved songs than any other holiday around, Leeann Ward and I have put together a list of some of their favorite renditions of classic holiday songs. Feel free to add your own personal favorites in the comments section.
Song #1: Twelve Days of Christmas
Leeann: John Denver and the Muppets
Not a particularly high brow pick, but neither is this Christmas classic anyway. The juxtaposition of Denver’s straight delivery and the Muppets’ goofiness is especially delightful. What’s more, the way Miss Piggy revels in making the typically drawn out “Five golden rings” line even longer than usual is somehow endearing.
Sam: Bela Fleck & the Flecktones
As fun as the song is, even the merriest of people get a little tired of it by the time it gets around to the leaping lords and the dancing ladies. Fleck and company decide to ratchet up the degree of difficulty by performing each day in a different key and a different time signature — AND include some Tuvan throat singing to boot.
This song reminds me of a college friend who didn’t like country music, but loved rainy nights. After I introduced this song to her, it was the only country song that she could stomach. She’s gone because of a tragic car accident now, but I always think of her with amusement when I hear the song.
I never actually got to meet the uncle this song reminds me of. He passed away in an accident in his early twenties. “Annie’s Song” was played at the funeral, and I see my Dad’s eyes travel back there every time he hears it.
Presley did it well, but regardless of the artist, when I hear this song, I hear my grandma’s sweet soprano in my head. I am forever grateful to her for instilling in me a strong faith –by example, not words– and for giving me my mom, who is every bit as beautiful a human being as she was.
His sweet AM radio sound resonated across genre boundaries, but for traditionalists, John Denver was where they would draw the line.
That such inoffensive music could ever cause such controversy may seem silly today, but Denver’s crossover success in the country market reached its peak with a 1975 CMA win for Entertainer of the Year.
Coming one short year after the hotly contested Olivia Newton-John win for Female Vocalist, presenter Charlie Rich may not have been in the right frame of mind when he lit the envelope on fire before announcing Denver’s win, but he certainly spoke for the wide dissent felt among the industry’s rank for these genre carpetbaggers.
But how did Denver get to the point that he’d even be a contender for country music’s top prize? He started out as Henry John Deutschendorf, Jr., born in New Mexico to a military family that moved around often. During a stint in Arizona, he spent two years as a member of the Tuscon Arizona Boys Chorus.
His interest in music was further developed when he received a guitar from his grandmother on his twelfth birthday. He was so enchanted with dreams of being a music star that while attending high school in Texas, he ran away to California with his father’s car, but was brought back home to finish high school.
He started out in the folk movement, joining The Mitchell Trio, which was eventually rebranded Denver, Boise, and Johnson by the time Denver departed. Fellow member Michael Johnson would also go on to a successful solo career, having big AC hits in the seventies before topping the country charts in the mid-eighties.
Denver’s solo career heated up quickly. Shortly after leaving the trio, he released his first solo album in 1969. It wasn’t a runaway hit, but it featured a song called “Leavin’ On a Jet Plane”, which became a #1 hit for Peter, Paul and Mary later that year. Two more solo albums floundered until he had his breakthrough as an artist with “Take Me Home, Country Roads.” It was a huge pop hit, reaching #2 on the Hot 100, and made a minor impression on the country chart as well.
Now a platinum-selling artist, Denver’s brand of folk slowly took a more country turn. Unlike Newton-John, who was embraced by country music more fully than pop music at first, country radio came on board after Denver was already a regular fixture on the pop charts, starting with “Annie’s Song” in 1974. After “Back Home Again” topped both charts, his subsequent singles in 1974 and 1975 would do better on the country charts, with “Thank God I’m a Country Boy” and “I’m Sorry” becoming #1 country hits.
Thus the controversial win for Entertainer, which in retrospect has more to do with Nashville’s xenophobia than anything else. Listen to Denver’s big hits alongside Nashville songs of the same era, and they don’t sound particularly less country than a lot of it, especially the records of Rich, his personal flamethrower.
Denver’s style of music laid the groundwork for everyone from Mac McAnally and Dan Seals to Kathy Mattea and Zac Brown Band, and while his star soon faded on pop radio, he still made regular appearances on the country charts, scoring a bit of a comeback in the eighties with the top ten hits “Some Days are Diamonds (Some Days are Stone)” and “Dreamland Express.” He also reached the top twenty with “Wild Montana Skies”, featuring the talents of Emmylou Harris on vocals.
Denver died tragically in a plane crash in 1997. While his contributions to country music were controversial at the time, memorials ran at both the Country Music Association awards and the Grammy Awards following his death, further solidifying the wide impact that this singer-songwriter made on contemporary music.
As we did last year, it’s time to share our preferences for this year’s CMA Awards. Last year, Taylor Swift was the belle of the ball, winning four awards. Some long winning streaks came to an end, as Swift replaced both Kenny Chesney as Entertainer of the Year and Carrie Underwood as Female Vocalist of the Year. Lady Antebellum ended Rascal Flatts’ long run as top Vocal Group, and were the surprise winners of Single of the Year as well.
Once again. I’ve selected the five artists that I believe are most deserving of an Entertainer of the Year nomination. But first, let’s take a look at last year’s race:
Entertainer of the Year (2009)
Swift was victorious in her first nomination in this category. She competed against three previous winners: Kenny Chesney, who has gone 4 for 8 in this category; Keith Urban, who is 1 for 5; and the incomparable George Strait, who is 2 for 17. Brad Paisley lost for the fifth year, tying Kenny Rogers for the most nominations without a win.
As the numbers above show, this has been a largely static category for the past ten years. Only thirteen artists earned nominations from 2000-2009. The CMA noms can be very predictable.
But looking at radio and retail these days, there’s been a big changing of the guard. I think that this category more than any other should reflect that. I’m putting my personal tastes aside here, as there are only two artists I list that I actually listen to regularly.
Entertainer of the Year (2010)
The nominees should be:
Their second album has already spent 25 weeks at #1, and “Need You Now” was such a big hit that it’s led to pop airplay for “I Run to You”, the award-winning hit from their debut album. It would be an early nomination in terms of their career, but Alabama and Dixie Chicks were elevated to this category even faster, so there’s precedent for vocal groups.
She’s always had the critical success, and she’s always sold records. But she’s selling them a heck of a lot faster these days and radio is suddenly, shockingly, spectacularly on board. It’s time for the CMA to catch up with the ACM, who have been away ahead in acknowledging this artist.
Being nominated the year after winning is not a given, but it’s the norm. While it was common in the seventies, it’s been very rare in recent years. Shania Twain (1999) was the last winner to not receive another nomination the following year, with the others being: Dolly Parton (1978), Mel Tillis (1976), John Denver (1975), and Charlie Rich (1974).
So she’s probably a lock for a nomination, and she deserves one. Though things have been quiet on the Swift front for the past couple of months, she had a massive tour and sold a ton of records during the eligibility period.
She really should be enjoying her third nomination this year, but a (flimsy) case could be made for her not making the ballot in 2008 and 2009. But no nomination this year would be inexcusable. She had a very successful tour, continued to dominate radio, and her third album is quickly approaching double platinum. At this point, she shouldn’t just get a nomination. She should win.
Zac Brown Band
Their live performances are well-regarded, radio is fully on board, and their first major label album is double platinum. A case could be made for Brad Paisley getting this spot, but sales of his new album have fallen quite a bit short of previous efforts. The same goes for other perennial nominees Keith Urban, George Strait, and Kenny Chesney.
As with the similar CMA category of Single of the Year, looking over the history of this category is the quickest way to get a snapshot of country music in a given year. There is a quite a bt of consensus among the two organizations here, and it is very rare for the winner at one show to not at least be nominated at the other. The winners list here would make a great 2-disc set of country classics, at least for those who don’t mind a little pop in their country. The ACM definitely has more of a taste for crossover than its CMA counterpart, and the organizations have only agreed on 17 singles in the past four decades and change.
As always, we start with a look at this year’s nominees and work our way back to 1968.
Zac Brown Band, “Toes”
Billy Currington, “People Are Crazy”
Lady Antebellum, “Need You Now”
Miranda Lambert, “White Liar”
David Nail, “Red Light”
There’s usually a “Huh?” nominee among the ACM list in recent years. This year, it’s David Nail. Good for him! Currington hasn’t won yet for this hit, even though he got himself a Grammy nomination for it. With Lady Antebellum reaching the upper ranks of the country and pop charts with “Need You Now”, my guess is that they’re the presumptive favorites. Then again, Miranda Lambert is a nominee for the third straight year, and she’s up for her biggest radio hit.
Trace Adkins, “You’re Gonna Miss This”
Jamey Johnson, “In Color”
Miranda Lambert, “Gunpowder & Lead”
Heidi Newfield, “Johnny and June”
Brad Paisley, “Waitin’ On a Woman”
Adkins has been a fairly regular fixture on country radio since 1996, but this was his first major industry award. He also won the ACM for Top New Male Vocalist in 1997.
Gary Allan, “Watching Airplanes”
Big & Rich, “Lost in This Moment”
Kenny Chesney, “Don’t Blink”
Miranda Lambert, “Famous in a Small Town”
“Stay” swept the Song of the Year categories at all three industry shows, along with winning the ACM for Single Record. Allan’s presence here shows that being a little West Coast can still help a guy at the ACMs.
Heartland, “I Loved Her First”
Rascal Flatts, “What Hurts the Most”
George Strait, “Give it Away”
Josh Turner, “Would You Go With Me”
Carrie Underwood, “Before He Cheats”
George Strait earned his second ACM Single Record award a decade after his first (“Check Yes or No”) and two and a half decades after having his first radio hit. Underwood won at the CMAs later that year. “Give it Away” is one of a small group of ACM winners to not receive a nomination at the CMA ceremony.
Gary Allan, “Best I Ever Had”
Brooks & Dunn, “Believe”
Brad Paisley, “Alcohol”
Sugarland, “Baby Girl”
Carrie Underwood, “Jesus, Take the Wheel”
In the battle of biblical hits, the CMA picked Brooks & Dunn but the ACM picked Carrie Underwood. Much like George Strait would later win a CMA trophy for a different single (“I Saw God Today”), Underwood later triumphed at the CMA with “Before He Cheats.”
Tim McGraw, “Live Like You Were Dying”
Brad Paisley with Alison Krauss, “Whiskey Lullaby”
Rascal Flatts, “Bless the Broken Road”
Keith Urban, “Days Go By”
Gretchen Wilson, “Redneck Woman”
Lee Ann Womack, “I May Hate Myself in the Morning”
Because McGraw picked up the trophy at the CMAs in 2004, the field was cleared for Womack to win the CMA later in 2005. McGraw had won the ACM before for “It’s Your Love.”
Brooks & Dunn, “Red Dirt Road”
Alan Jackson with Jimmy Buffett, “It’s Five O’ Clock Somewhere”
Alan Jackson, “Remember When”
Toby Keith, “American Soldier”
Randy Travis, “Three Wooden Crosses”
Among all the lead nominees, only Toby Keith wasn’t a previous winner. Still, the award went to the new alcoholic’s creed, winning over a more pensive Jackson track and a big comeback hit for Randy Travis.
Kenny Chesney, “The Good Stuff”
Toby Keith, “Courtesy of the Red, White, and Blue (The Angry American)”
Trick Pony, “Just What I Do”
Keith Urban, “Somebody Like You”
Mark Wills, “19 Somethin’”
Chesney spent nearly two months at #1 with this hit, perhaps giving him the edge over the other mega-hits at radio from Keith, Urban, and Wills. As for the Trick Pony nomination, somebody really should find out what Heidi Newfield has on those ACM voters.
Brooks & Dunn, “Ain’t Nothin’ ‘Bout You”
Diamond Rio, “One More Day”
Alan Jackson, “Where Were You (When the World Stopped Turning)”
Toby Keith, “I Wanna Talk About Me”
Travis Tritt, “It’s a Great Day to Be Alive”
Jackson’s powerful 9/11 reflection stands out as the only ballad among his four ACM Single Record victories.
Toby Keith, “How Do You Like Me Now?!”
John Michael Montgomery, “The Little Girl”
Jamie O’Neal, “There is No Arizona”
Aaron Tippin, “Kiss This”
Lee Ann Womack with Sons of the Desert, “I Hope You Dance”
Toby Keith’s run of four consecutive nominations began this year. His album of the same name proved victorious that evening. Womack’s massive hit became an instant standard, and is incidentally the most recent winner to also be a genuine crossover hit.
Dixie Chicks, “Ready to Run”
Tim McGraw, “Please Remember Me”
Brad Paisley, “He Didn’t Have to Be”
George Strait, “Write This Down”
As pop hits go, this one was a monster. “Amazed” even topped the Hot 100, the first country single to do so since “Islands in the Stream.”
Faith Hill, “This Kiss”
Martina McBride, “A Broken Wing”
Shania Twain, “You’re Still the One”
Steve Wariner, “Holes in the Floor of Heaven”
The Wilkinsons, “26 Cents”
Hill and hubby Tim McGraw each have two ACM trophies in this category, one solo and one shared.
Diamond Rio, “How Your Love Makes Me Feel”
Tim McGraw with Faith Hill, “It’s Your Love”
LeAnn Rimes, “How Do I Live”
George Strait, “Carrying Your Love With Me”
Trisha Yearwood, “How Do I Live (from “Con Air”)”
While Yearwood had won over Rimes at the Grammys a few weeks earlier, the ACM sidestepped the big controversy of the year and gave the trophy to the biggest hit in the bunch.
Brooks & Dunn, “My Maria”
Deana Carter, “Strawberry Wine”
Tracy Lawrence, “Time Marches On”
LeAnn Rimes, “Blue”
George Strait, “Carried Away”
It’s rare that the ACM goes with the song that was least successful at radio, but don’t let that #10 peak of “Blue” fool you. That hit was responsible for millions of record sales.
Brooks & Dunn, “You’re Gonna Miss Me When I’m Gone”
Faith Hill, “It Matters to Me”
Tim McGraw, “I Like It, I Love It”
George Strait, “Check Yes or No”
Shania Twain, “Any Man of Mine”
It was a stroke of marketing brilliance: add two singles to a box set of a genre superstar. When the first single became one of his biggest hits, the box set quickly became the top selling in country music history.
Joe Diffie, “Third Rock From the Sun”
Vince Gill, “Tryin’ to Get Over You”
Alan Jackson, “Livin’ On Love”
Tim McGraw, “Don’t Take the Girl”
John Michael Montgomery, “I Swear”
There have been a few wedding standards to win this award, though Montgomery’s hit didn’t cross over in its original form.
Clint Black with Wynonna, “A Bad Goodbye”
Garth Brooks, “Ain’t Goin’ Down (‘Til the Sun Comes Up)”
Alan Jackson, “Chattahoochee”
Reba McEntire with Linda Davis, “Does He Love You”
Dwight Yoakam, “Ain’t That Lonely Yet”
Jackson won the ACM with his massive hit, but the McEntire/Davis duet and the Yoakam track were Grammy winners.
John Anderson, “Straight Tequila Night”
Brooks & Dunn, “Boot Scootin’ Boogie”
Billy Ray Cyrus, “Achy Breaky Heart”
Collin Raye, “Love, Me”
Tanya Tucker, “Two Sparrows in a Hurricane”
Brooks & Dunn are among the most nominated artists in this category’s history, but this is their only victory.
Clint Black, “Where Are You Now”
Garth Brooks, “Shameless”
Alan Jackson, “Don’t Rock the Jukebox”
Travis Tritt, “Here’s a Quarter (Call Someone Who Cares)”
Trisha Yearwood, “She’s in Love With the Boy”
This was Jackson’s first major industry award.
Alabama, “Jukebox in My Mind”
Garth Brooks, “Friends in Low Places”
Vince Gill, “When I Call Your Name”
Alan Jackson, “Here in the Real World”
Shenandoah, “Next to You, Next to Me”
Garth-mania was beginning to peak in 1991. He swept the ACMs that year.
Clint Black, “Better Man”
Garth Brooks, “If Tomorrow Never Comes”
Patty Loveless, “Timber I’m Falling in Love”
Keith Whitley, “I’m No Stranger to the Rain”
Hank Williams & Hank Williams Jr., “There’s a Tear in My Beer”
Clint Black is one of only three artists in the last twenty years to win for their first proper single, with Carrie Underwood and LeAnn Rimes being the other two.
Kathy Mattea, “Eighteen Wheels and a Dozen Roses”
K.T. Oslin, “I’ll Always Come Back”
Ricky Van Shelton, “I’ll Leave This World Loving You”
Randy Travis, “I Told You So”
Keith Whitley, “Don’t Close Your Eyes”
Mattea’s award-winning hit had such a high profile that it was even referenced in the dialog of the hit movie Rain Man.
Restless Heart, “I’ll Still Be Loving You”
Ricky Van Shelton, “Somebody Lied”
George Strait, “All My Ex’s Live in Texas”
Randy Travis, “Forever and Ever, Amen”
Hank Williams Jr., “Born to Boogie”
Travis won for the second year in a row with what would become his signature hit.
Alabama, “Touch Me When We’re Dancing”
Janie Fricke, “Always Have, Always Will”
The Judds, “Rockin’ With the Rhythm of the Rain”
Reba McEntire, “Whoever’s in New England”
Randy Travis, “On the Other Hand”
This was technically his first single, but when released under the name Randy Traywick, it bombed. Warner Bros. then released “1982″ under Randy Travis, and it went top ten. They then re-released this song, and it became his first #1 hit.
Lee Greenwood, “Dixie Road”
Waylon Jennings, Willie Nelson, Johnny Cash, Kris Kristofferson, “Highwayman”
The Judds, “Love is Alive”
Mel McDaniel, “Baby’s Got Her Blue Jeans On”
Hank Williams Jr., “I’m For Love”
So successful was this winning single that the four legends would go on to release future collaborations as the Highwaymen.
Alabama, “When We Make Love”
Julio Iglesias & Willie Nelson, “To All the Girls I’ve Loved Before”
The Judds, “Why Not Me”
John Schneider, “I’ve Been Around Enough to Know”
Conway Twitty, “I Don’t Know a Thing About Love (The Moon Song)”
Say what you want about this winner, but it was popular enough to sell two million 45s.
John Anderson, “Swingin’”
Anne Murray, “A Little Good News”
Willie Nelson & Merle Haggard, “Pancho and Lefty”
Kenny Rogers & Dolly Parton, “Islands in the Stream”
Shelly West, “José Cuervo”
Another pop smash that moved two million 45s. Is there anybody over 30 who can’t sing along to the chorus?
David Frizzell, “I’m Gonna Hire a Wino to Decorate Our Home”
Willie Nelson, “Always on My Mind”
Kenny Rogers, “Love Will Turn You Around”
Ricky Skaggs, “Crying My Heart Out Over You”
Nelson’s had quite a few signature hits, but none bigger than this one.
Rosanne Cash, “Seven Year Ache”
David Frizzell & Shelly West, “You’re the Reason God Made Oklahoma”
Barbara Mandrell, “I Was Country When Country Wasn’t Cool”
Ronnie Milsap, “(There’s) No Gettin’ Over Me”
Oak Ridge Boys, “Elvira”
This might be the most pop-flavored lineup in category’s history. Even the Mandrell hit doth protest too much.
George Jones, “He Stopped Loving Her Today”
Johnny Lee, “Lookin’ For Love”
Dolly Parton, “9 to 5″
Eddie Rabbitt, “Drivin’ My Life Away”
Don Williams, “I Believe in You”
Jones capped his biggest comeback in a career defined by them with several awards for this classic hit.
Charlie Daniels Band, “Devil Went Down to Georgia”
Larry Gatlin & The Gatlin Brothers Band, “All the Gold in California”
Crystal Gayle, “Half the Way”
Waylon Jennings, “Amanda”
Kenny Rogers, “Coward of the County”
West Coast represent!
Crystal Gayle, “Talking in Your Sleep”
Loretta Lynn, “Out of My Head and Back in My Bed”
Willie Nelson, “Georgia On My Mind”
Waylon & Willie, “Mammas Don’t Let Your Babies Grow Up to be Cowboys”
Don Williams, “Tulsa Time”
In a category of superstars, the Gentle Giant of Country Music was the victor.
Debby Boone, “You Light Up My Life”
Crystal Gayle, “Don’t it Make My Brown Eyes Blue”
Waylon Jennings, “Luckenbach, Texas (Back to the Basics of Love)”
Kenny Rogers, “Lucille”
Linda Ronstadt, “Blue Bayou”
All of these records made a big impact on both the country and the pop chart.
Mickey Gilley, “Bring it On Home to Me”
Loretta Lynn, “Somebody Somewhere (Don’t Know What He’s Missin’ Tonight)”
Marty Robbins, “El Paso City”
Red Sovine, “Teddy Bear”
Waylon & Willie, “Good Hearted Woman”
A surprising win, perhaps fueled by the momentum of Gilley’s previous single, “Don’t the Girls All Get Prettier at Closing Time.”
Glen Campbell, “Rhinestone Cowboy”
Freddie Fender, “Before the Next Teardrop Falls”
Mickey Gilley, “Overnight Sensation”
Willie Nelson, “Blue Eyes Crying in the Rain”
Kenny Starr, “The Blind Man in the Bleachers”
Campbell made quite the comeback with this one, and it later inspired the Dolly Parton film vehicle Rhinestone, which earned an ACM nomination of its own for the Tex Ritter Award.
John Denver, “Back Home Again”
Merle Haggard, “Things Aren’t Funny Anymore”
Ronnie Milsap, “(I’d Be) A Legend in My Time”
Cal Smith, “Country Bumpkin”
Billy Swan, “I Can Help”
Smith may not have gotten all the recognition that his talent warranted, but he made two undeniable classics: “The Lord Knows I’m Drinking”, and his winner here.
Merle Haggard, “If We Make it Through December”
Byron MacGregor, “The Americans”
Jeanne Pruett, “Satin Sheets”
Charlie Rich, “Behind Closed Doors”
Charlie Rich, “The Most Beautiful Girl”
Rich’s two hits were so big that even with vote-splitting, he still emerged the winner.
Donna Fargo, “The Happiest Girl in the Whole U.S.A.”
Merle Haggard, “It’s Not Love (But It’s Not Bad)”
Johnny Rodriguez, “Pass Me By (If You’re Only Passing Through)”
Jerry Wallace, “If You Leave Me Tonight I’ll Cry”
Faron Young, “Four in the Morning”
Fargo was a local star on the West Coast before she broke through nationwide with this hit, dominating the 1973 ACM Awards as a result.
Merle Haggard, “Carolyn”
Freddie Hart, “Easy Loving”
Loretta Lynn and Conway Twitty, “Lead Me On”
Loretta Lynn, “One’s On the Way”
Charley Pride, “Kiss an Angel Good Morning”
This gold-selling classic helped Hart triumph over the superstars of his day.
Lynn Anderson, “Rose Garden”
Merle Haggard, “The Fightin’ Side of Me”
Anne Murray, “Snowbird”
Ray Price, “For the Good Times”
Sammi Smith, “Help Me Make it Through the Night”
Each one of these is a classic in its own right. In a battle of Kristofferson-penned hits, Price emerged victorious, though Smith won the CMA later that year.
Glen Campbell, “Try a Little Kindness”
Johnny Cash, “A Boy Named Sue”
Merle Haggard, “Okie From Muskogee”
Billy Mize, “Make it Rain”
Elvis Presley, “Don’t Cry Daddy”
Freddy Weller, “Games People Play”
Tammy Wynette, “Stand By Your Man”
Haggard’s only victory in this category came on a night where he also won Album of the Year for the only time in several nominations.
Glen Campbell, “Wichita Lineman”
Merle Haggard, “I Take a Lot of Pride in What I Am”
Merle Haggard, “The Legend of Bonnie and Clyde”
Merle Haggard, “Mama Tried”
Roger Miller, “Little Green Apples”
Miller’s known for his legendary songwriting, but his winning hit here was penned by Bobby Russell.
Glen Campbell, “Burning Bridges”
Glen Campbell, “Gentle on My Mind”
The Gosdin Bros., “Hangin’ On”
Bobbie Gentry, “Ode to Billy Joe”
Merle Haggard, “Branded Man”
Merle Haggard, “I’m a Lonesome Fugitive”
A young Vern Gosdin made up half of the nominated Gosdin Bros., a nice historical footnote to the first year of this category. Glen Campbell’s victory was appropriately West Coast for the ACMs first attempt at honoring the national country music scene.
Facts & Feats:
(4) – Alan Jackson
(3) – Willie Nelson
(2) – Glen Campbell, Faith Hill, Tim McGraw, Kenny Rogers, George Strait, Randy Travis
It’s been a while since we’ve done one of these, distracted as we’ve been by decade-end madness, but now seems like an appropriate day to jump back in, with a diverse bevy of MP3 albums being offered at Amazon for 5 bucks or better. As always, click on the box to listen to clips or to reach the album’s download page.
First up is the Daily Deal, the Avett Brothers’ excellent 2007 set Emotionalism, going today for $1.99. This group kind of defies genre classification, but they have enough of an earthy quality to their music to make them appeal to all lovers of traditional music. They’re building quite a following, too.
One of the albums that I’m anticipating most this year is Rosanne Cash’s album, The List, which comes out on October 6. Anything new from Rosanne Cash is eagerly welcomed by me, but this project is bound to be particularly special. The album will be comprised of 12 classic songs culled from a list that her father, Johnny Cash (obviously), gave to her as essential listening back when she was eighteen-years old. Since she had to choose only 12 songs out of a reported list of one-hundred, it’s pretty safe to assume that these 12 choices are among her favorites of the list that was lovingly compiled by her father, even if she did not fully appreciate them at the young age of eighteen.
While I have not adopted a large portion of my parents’ musical tastes as an adult, there are certainly singers and songs that have filtered into my music repertoire thanks to their influence. Artists such as John Denver, Peter Paul & Mary, The Seekers, Don McLean, Simon and Garfunkel, ABBA and Gordon Lightfoot aren’t necessarily people I’d naturally seek out on my own. They, however, hold a special place with me as a result of my parents’ love of their music, to the point where I can easily call myself a fan of them too.
What music has been successfully filtered to you from your parents?
By the way, here’s the track listing for the upcoming Rosanne Cash album:
1. “Miss the Mississippi and You”
2. “Motherless Children”
3. “Sea of Heartbreak” (w/ Bruce Springsteen)
4. “Take These Chains From My Heart”
5. “I’m Movin’ On”
6. “She’s Got You”
7. “Heartaches by the Number” (w/ Elvis Costello)
8. “500 Miles”
9. “Long Black Veil” (w/ Jeff Tweedy)
10. “Silver Wings” (w/ Rufus Wainwright)
11. “Girl From the North Country”
12. “Bury Me Under the Weeping Willow”
As April is one of the odd months that has five Wednesdays, I thought I'd take a break from Country Quizzin' for this week and try out a new discussion-thing.
Given the current mainstream climate, it's been a while since I've felt able to heap unfettered praise on a piece of country music here, and that frankly bums me out a bit. So in the spirit of un-bumming, I'm going to share ten country songs from the 70's on that I find absolutely flawless – my “Perfect 10″ – and I invite you to do the same. It's a simple enough concept – you could just think of it as Recommend a Track times 10 plus a punny name.
Still, I suspect the outcome could be really interesting if everybody puts in the effort to pick ten songs that they consider the absolute cream of the crop. We're talking all-time best material here, whatever “all-time” happens to mean to you. You don't have to rank them, and they don't have to be your definitive top ten; I sure wouldn't be able to produce that list without a lot more thought. They just have to be up there – the kind of songs that you love fully and deeply, that still engage and surprise you after countless listens.
Most of the ten I've picked below are pretty well-known. Feel free to go as popular or as obscure as you like – great music is great music!
In chronological order:
Bobbie Gentry, “Ode to Billie Joe”
I've never heard anything else like this. Even if you ignore the compelling Southern Gothic mystery the song serves up in just over four minutes, there's so much magic in the writing itself. The intense attention to detail doesn't just paint a vivid picture; it serves an actual literary kind of purpose, illustrating the insensitivity of the narrator's family. I miss songs with subtexts.
Loretta Lynn, “Fist City”
“Fist City” is in the inner circle of big Loretta hits, but it usually has its spotlight stolen by more topically revolutionary numbers like “Don't Come Home A Drinkin'” or “The Pill.” But no longer! This saucy prelude to a catfight could be her most tightly-written anthem ever, with a killer hook and excellent one-liners all around. “The man I love, when he picks up trash, he puts it in a garbage can. And that's what you look like to me.” Damn!
John Denver, “Take Me Home, Country Roads”
Call it musical comfort food. Denver's stuff was never good for extremists: the hardcore folkies found it too simplistic and starry-eyed to be intellectually palatable, while the hardcore country fans found it too poppy to have any hillbilly integrity. If you ask me, those arguments were more about context than substance. This single seamlessly blends its folk, pop and country sensibilities, and Denver's soaring voice can sell this kind of romanticized lyric all day.
Jerry Jeff Walker, “Gettin' By”
Another helping of comfort food. This here's a take-it-easy anthem with a similar vibe to “Don't Worry, Be Happy,” but with less potential to annoy you.
Merle Haggard, “If We Make It Through December”
The kind of understated song that speaks for itself and doesn't try to sound more important than it really is, which is charming, since this song's sentiment is actually more significant than a lot of songs which employ a more dramatic approach. Haggard's writing here is also proof that specificity of storytelling often makes a song that much more relatable.
Alabama, “Dixieland Delight”
What can I say; I love the feel-good anthems. I have to admit that I mostly included this because I wanted to give the 80's at least one song and it was the first thing that came to mind, so it may be a tier lower than some of the others in terms of my love. But I don't think these guys get enough credit for the legitimately good country-rock stuff they did.
Mary Chapin Carpenter, “Why Walk When You Can Fly”
Easily the most obscure thing on this list, this gorgeous album opener
was released as a single and peaked at #45. I first heard this while driving to Kroger at night and just about pulled over so I could listen properly.
Dixie Chicks, “Long Time Gone”
If there is any justice whatsoever in the country music world, historians will remind the public hung up on “the incident” that the Chicks also produced some of the best singles of their time, especially with this Darrell Scott-penned beaut. What a masterwork.
Josh Turner, “Long Black Train”
I reached a point in life last year where my religious beliefs just seemed to fall out from underneath me, and I've been pretty much undecided on that front since. Incredibly, it's only made me appreciate Turner's spiritual beckon even more, which is a testament, I think, to how substantially it presents its point-of-view. And gosh, does it ever sound good. Josh oughta crack open that Hank Williams box set more often.
Nickel Creek, “This Side”
This was one of the key songs that hooked me for good into country music, so I had to include it. The writing is more abstract pop-rock than anything else, but the pulsating instrumentation is so sweet that you're a fool if you care one way or the other. Listen to this with a good pair of headphones and hear the world unfold.
I was listening to The Band’s album Music From Big Pink earlier this week, and something struck me about the song “The Weight.” Trust me, you know the song. It goes a little like this: “I pulled into Nazareth / Was feelin’ about half past dead / I just need some place / where I can lay my head.” Ring a bell yet? No? Try this:
In the song, The Band, originally consisting of Robbie Robertson, Richard Manuel, Garth Hudson, Rick Danko and Levon Helm, draws from a familiar cast of characters and American mythology to tell a universal story set in the town of Nazareth, PA. First released in 1968, “The Weight” only reached #63 on the U.S. charts, but has since achieved iconic status. It has become an American standard in a way few songs have accomplished. Indeed, Rolling Stone lists it as the 41st greatest song of all time.
Further cementing its iconic status, check out a very small sample of the artists – across genres, of all ages – who have covered the song:
The Black Crowes
Old Crow Medicine Show
The Staple Singers
Lee Ann Womack
Cross Canadian Ragweed
Diana Ross, the Temptations and the Supremes
The Allman Brothers Band
The Marshall Tucker Band
Panic at the Disco
Songs with enduring power like “The Weight” are few and far between, and seem to be even more so nowadays. So tonight’s discussion asks:
What songs of the past decade have enduring power? What songs will we be listening to and hear covers of in the next 50 years?