Since its inception, the top honor an artist could be given at the Country Music Association awards is this one: Entertainer of the Year. Originally a revolving door of winners, the winner in early years was often not even nominated the following year. In 1981, Barbara Mandrell became the first artist to win the award twice. Alabama succeeded her with a three year run from 1982-1984. Fourteen years later, Garth Brooks became the first artist two win four times, a feat later matched by Kenny Chesney in 2008.
Here’s a look back at the award from the very beginning, along with some facts and feats about the category and its nominees.
One year after being inducted into the Country Music Hall of Fame, Eddy Arnold was named the very first Entertainer of the Year at the inaugural CMA awards in 1967. Don’t assume it was a sympathy vote. Arnold had three #1 hits in the twelve months leading up to the ceremony, as he was in the middle of his impressive mid-sixties comeback, a period best defined by the 1965 classic, “Make the World Go Away.” He remains the only member of the Hall of Fame to win this award after being inducted.
Glen Campbell was a big awards favorite in 1968, with “By the Time I Get to Phoenix” and “Gentle On My Mind” both dominating the Grammy awards earlier that year. His win in this category foreshadowed bigger things, as he soon became a network variety star, while also scoring major country and pop hits with “Wichita Lineman” and “Galveston.”
Johnny Cash’s career was rejuvenated on the strength of two live prison albums, the latter of which produced the massive Shel Silverstein-penned smash, “A Boy Named Sue.” His victory came in a year that marked the beginning of his network variety show and had him dominating the country singles charts, spending ten combined weeks at #1 with “Sue” and “Daddy Sang Bass.”
Merle Haggard was a mainstay in this category from the beginning, nominated in each of the first seven years of the CMA Awards. His victory in 1970 coincided with his commercial peak, with signature hits “The Fightin’ Side of Me” and “Okie From Muskogee” helping him secure his only win in this category.
The last of four consecutive years where the Male Vocalist winner matched the Entertainer winner, Charley Pride went home with both awards in 1971. A winner on his fourth nomination, his popularity skyrocketed upon the release of “Kiss an Angel Good Morning,” which was climbing the charts at the time of the awards ceremony.
Instead of attending the awards show, Loretta Lynn’s husband Mooney went hunting. He didn’t want to watch her lose, but he missed watching history unfold as she became the first woman to win Entertainer of the Year. Lynn’s victory came on the heels of both solo hits like “One’s on the Way” and her popular duets with Conway Twitty.
Tom T. Hall
Today he’s best known for Hee Haw, the country music variety show that he co-hosted, and it’s no coincidence that he won while the show was in its prime. Still, Clark is also one of country’s most admired legends, and his legacy goes far beyond the television show that showcased his extensive musical and comedic talents.
The massive success of “The Most Beautiful Girl” and “Behind Closed Doors” helped Charlie Rich win this award. It was a long time coming, as Rich toiled in obscurity despite critical acclaim for his work. He would continue to score big hits on the country and pop charts over the next couple of years, at one point charting hits on different labels at the same time.
John Denver’s victory in this race led to the most infamous moment in CMA history. Though he claimed it was due to medication later on, presenter Charlie Rich seemed to be making a furious statement against the pop crossover artists dominating country music when he opened the envelope, read it, and then lit a cigarette lighter and burned the envelope. The paper went up in flames as he derisively snarled the winner’s name, “My friend, Mister John Denver.” Poor John, accepting via satellite, was clueless to what was going on at the Opry house, and graciously accepted his award.
This 2007 Hall of Fame inductee won this award just as he was changing labels. Tillis first gained notoriety for his remarkable songwriting talent, but eventually he was scoring enough hits to earn a place in this category. He would go on to have several more big hits after winning this award, earning another nomination in this category two years later.
Ronnie Milsap dominated the CMA Awards, becoming one of its most frequently honored performers during the formative years of the awards show. He finally won the big prize on his third try, powered by the success of his classic hit, “It was Almost like a Song.”
Her famous quote – “I’m not leaving country. I’m taking it with me” – must have held some water with the Nashville establishment, as Parton won this award at the height of her pop crossover success with “Here You Come Again,” the title track of her first platinum album. The front of her dress popped open before she went up to receive the trophy, prompting her to quip, “That’s what I get for trying to put fifty pounds of mud in a five pound bag.”
He never won Male Vocalist of the Year, but superstar Willie Nelson was given his due by the CMA in 1979 when they awarded him Entertainer of the Year. While it wasn’t his biggest year on the charts, residual goodwill from Stardust and his collaborations with Waylon Jennings helped carry him to victory.
Charlie Daniels Band
Larry Gatlin & The Gatlin Brothers
She had a few big hits in 1980, like “Crackers” and “The Best of Strangers.” But it was her incredibly popular variety show with sisters Louise and Irlene that truly showcased her versatility as an entertainer, securing the first of two wins in this category.
Oak Ridge Boys
Despite sharing the category with four artists who had never won this award, Barbara Mandrell became the first artist in CMA history to win Entertainer of the Year for the second time. Credit the continued popularity of her television show and the biggest hit of her career, “I Was Country When Country Wasn’t Cool”, which featured a guest turn by fellow nominee George Jones.
Oak Ridge Boys
The band that laid the groundwork for all other country bands that followed, Alabama set a new bar for commercial success in the early eighties. The eligibility period included the release of their biggest-selling studio album, and also two of their signature hits: “Mountain Music” and “Love in the First Degree.”
As their studio albums sold in the millions, every single Alabama released to radio was hitting #1, a stretch that would eventually include 21 consecutive chart-toppers. They repeated in this category on the strength of hits like “Dixieland Delight” and “The Closer You Get.”
Oak Ridge Boys
A mere three years after Barbara Mandrell made history by being the first artist to win two Entertainer awards, Alabama went her one better and won three. They remain one of only two acts to win this award three years in a row, doing so as their hits “Roll On (Eighteen Wheeler)” and “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” dominated the airwaves.
Few country artists command as much respect as Ricky Skaggs, a consummate singer and musician. Skaggs’ victory in this category signaled the resurgence of traditional country music, as he was the first winner since 1976 to not have achieved crossover hits on pop radio.
One of the most popular new traditionalists of the mid-eighties, McEntire achieved her commercial breakthrough with “Whoever’s in New England”, which was aided in popularity by her first of many high-concept music video clips. McEntire would eventually become the most nominated woman in history, scoring ten nominations over eleven years.
Hank Williams, Jr.
When Hank Williams, Jr. won the Music Video award the previous year, he reminded voters, “I make audio, too.” They finally got around to acknowledging his meaningful contributions to the genre, awarding him the first of two Entertainer trophies in 1987.
Hank Williams, Jr.
Hank Jr. may have waited a long time for some CMA love, but once it came, it was in droves. He won Album of the Year the same night he repeated in this category. His biggest hit of the year, “Young Country”, featured guest appearances by up and comers like Highway 101 and Marty Stuart.
Ricky Van Shelton
Hank Williams, Jr.
Three years after his most recent Male Vocalist trophy, megastar George Strait was named Entertainer of the Year. He would go on to have one of his biggest years at radio, with two multi-week #1 singles in the twelve months that followed his victory.
Ricky Van Shelton
While Randy Travis dominated the Male Vocalist race, George Strait was given his due again in the Entertainer category. He wore an Entertainer of the Year cowboy belt on the cover of Livin’ it Up, perhaps giving him good luck toward his second victory. He remains the most nominated in this category, and is only the second Hall of Famer to receive a nomination after being inducted into the Hall.
A mere year after winning the Horizon award, Garth Brooks was the Entertainer of the Year at the CMA Awards. He was breaking every sales record in the book by that point. Shortly before the ceremony, he became the first country artist to enter the overall album chart at #1, leading to a media frenzy that gained unprecedented exposure for both Garth and the genre he represented.
Given that he was already the biggest-selling country artist the world had ever seen, it was no surprise that Garth Brooks won his second Entertainer of the Year trophy in 1992. His continued popularity was fueled by sold out live shows that soon led to network specials showcasing his unique brand of arena country.
Brooks & Dunn
Vince Gill capped off an amazing night at the 1993 CMA Awards with his first victory in this category. It was his fifth win of the night, as he also took home Male Vocalist, Song, Album and Vocal Event. As he was also the show’s sole host, the collective exposure pushed him to multi-platinum sales.
Brooks & Dunn
The soft-spoken Gill won for a second year, which was no big surprise given his widespread popularity in Music City. He also went home with Album and Male Vocalist the same night, giving him a stunning fourteen trophies in only five years.
Brooks & Dunn
As one of the evening’s top nominees, Alan Jackson brought his parents as his special guests. After losing in every other category, he expressed relief that he finally won something, as going home empty handed would’ve been embarrassing. Jackson would eventually become one of the organization’s most awarded artists.
Brooks & Dunn
They were already winners of five CMA awards, due solely to their domination of the Vocal Duo category. But in 1996, they finally won another race, and it was a big one. Brooks & Dunn remain the only duo to win this award, with The Judds and Sugarland being the only other duos to receive nominations.
Brooks & Dunn
In a year when all five nominees had won this award before, it was Garth Brooks who returned to the winner’s circle, tying Alabama’s long-standing record of three victories in this category. Adding to the sense of déjà vu, this was the third year in a row where all five nominees were the same.
Brooks & Dunn
As hard as it is to believe that there were any records left for him to break by 1998, Garth Brooks shattered another one, becoming the first artist in the history of the CMA to win four Entertainer of the Year awards. By this time, Garth had already sold more than 60 million albums, and while he has yet to win this award again, he remains the top-selling solo artist of all time in the United States.
The odds seemed against Shania Twain, as she had never won a CMA award before and the last woman to win was Reba McEntire thirteen years earlier. Fittingly, McEntire was on hand to present the trophy to Twain, who won on the strength of Come On Over, which eventually became top-selling country album of all time and the top selling album of the decade from any genre.
The Dixie Chicks capped off a stunning three-year run at the CMA Awards with this victory, one of nine that they racked up since 1998. Within those three years, their first two albums each sold over ten million copies, and the band was widely credited for championing country radio and traditionalism while other top acts were crossing over to pop radio.
Brooks & Dunn
After winning two Male Vocalist and two Album of the Year honors in the previous three years, Tim McGraw finally won the CMA’s top award. It was a satisfying acknowledgment of an artist who’d had his talent underestimated in the first few years of his stardom, but built up a reputation for his stellar taste in choosing material.
Brooks & Dunn
Jackson’s win in 1995 came as he was reaching his commercial peak. In the years that followed, Jackson remained a successful and well-respected artist that got less attention every year when it came time to hand out awards. Then came the one-two punch of “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”, both of which were viewed as the very embodiment of all that makes country music unique and essential. This was one of five awards he was honored with that night.
Brooks & Dunn
Although the ACM had chosen Toby Keith as their standard bearer a few months earlier, the CMA stuck with the previous year’s winner Alan Jackson. By 2003, Jackson had evolved into an elder statesman for the genre, but still managed to stay relevant with hits both clever (“It’s Five O’Clock Somewhere”) and poignant (“Remember When.”)
Brooks & Dunn
Chesney’s long dry spell at the CMA’s came to a satisfying end as the superstar collected both Entertainer and Album of the Year trophies. He had been charting for eleven years before finally winning his first CMA award.
One of the most surprising and endearing wins in the history of this category, a shocked and humbled Urban accepted this award in New York City. He couldn’t have picked a better night to bring his Australian parents to the ceremony.
Brooks & Dunn
It’s pretty rare to come back and win this award for a second time, as most multiple wins have been consecutive in this category. But Kenny Chesney joined Garth Brooks and Alan Jackson as the only other artists to pull it off when he won in 2006, a club that would later be joined by Taylor Swift.
Chesney entered the elite company of Garth Brooks, Alabama, and Alan Jackson with his third victory in this category. Rascal Flatts, meanwhile, became the first group since the Dixie Chicks to score back-to-back nominations, a feat also accomplished by Alabama and the Oak Ridge Boys.
As Sugarland became only the third duo in history to receive a nomination and George Strait extended his record number of nominations to sixteen, Kenny Chesney tied Garth Brooks for the most wins in this category with his fourth victory. His popularity at radio and retail was remarkable, but it was Chesney’s highly attended summer stadium tours that earned him these wins.
Taylor Swift both made history and prevented it with her win in this category. She simultaneously became the youngest artist ever and the first female solo artist in ten years to take home the prize. She also kept Kenny Chesney from becoming the sole all-time champion in this category, as he remains tied with Garth Brooks with four wins to date.
Zac Brown Band
2010 shook up the category, with three first-time contenders in the running for the crown for the first time since 1981. Despite all the new blood, sixth time proved to be the charm for Brad Paisley, who finally won this award after five consecutive losses. Paisley’s persistent popularity helped him earn the nod in a year where the two previous winners weren’t even nominated.
Thirty years after Barbara Mandrell became the first woman to win this award twice, Swift became the second to do so. She won the award on the strength of her third set, Speak Now, which showcased her growing maturity as a songwriter and her growing appeal beyond her teenage and young adult fan base.
One of the most surprising wins in CMA history, few saw Blake Shelton’s victory coming. But it isn’t too surprising when you consider the number of artists who parlayed network television exposure into a win in this category. Perhaps in this new era of media saturation and minimal album sales, television may once again become a deciding factor when choosing the genre’s top star every year.
George Strait’s farewell tour helped return him to the category for the first time since 2009, earning him a record-extending eighteenth career nomination. Strait joins previous winners Taylor Swift (2009, 2011) and Blake Shelton (2012) in attempting a return to the winner’s circle. Luke Bryan earns his first nomination, just months after winning the ACM trophy. Jason Aldean, meanwhile, is hoping to get lucky the third time around.
Facts & Feats
(4) – Garth Brooks, Kenny Chesney
(3) – Alabama, Alan Jackson
(2) –Vince Gill, Barbara Mandrell, George Strait, Taylor Swift, Hank Williams, Jr.
(2) – Garth Brooks (1991-1992, 1997-1998), Vince Gill (1993-1994), Barbara Mandrell (1980-1981), George Strait (1989-1990), Hank Williams, Jr. (1987-1988)
(18) – George Strait
(12) – Alan Jackson
(11) – Brooks & Dunn
(10) – Reba McEntire
(9) - Garth Brooks, Kenny Chesney
(8) - Vince Gill, Merle Haggard, Brad Paisley
(7) – Keith Urban
(6) – Barbara Mandrell, Tim McGraw, Willie Nelson, Brad Paisley, Charley Pride, Keith Urban
(5) – Alabama, Loretta Lynn, Ronnie Milsap, Kenny Rogers
Most Nominations Without a Win:
(5) – Kenny Rogers
(4) – Toby Keith, Randy Travis
(3) – Jason Aldean, Waylon Jennings, The Judds, Oak Ridge Boys
Winners in First Year of Nomination:
Eddy Arnold (1967), Garth Brooks (1991), Glen Campbell (1968), John Denver (1975), Charlie Rich (1974), Taylor Swift (2009), Mel Tillis (1976), Shania Twain (1999), Keith Urban (2004), Hank Williams, Jr. (1987)
CMA Entertainers of the Year Who Have Never Won the ACM Award:
Eddy Arnold, Johnny Cash, Glen Campbell, Roy Clark, John Denver, Vince Gill, Alan Jackson, Tim McGraw, Ronnie Milsap, Brad Paisley, Charlie Rich, Blake Shelton, Ricky Skaggs, Taylor Swift, Mel Tillis, Keith Urban
ACM Entertainers of the Year Who Have Never Won the CMA Award:
Luke Bryan, Mac Davis, Mickey Gilley, Freddie Hart, Toby Keith, Kenny Rogers, Carrie Underwood
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.