Monday, July 30th, 2012
100 Greatest Men: The Complete List
He became widely hailed for his lightning-fast wit and charming novelty songs, but Roger Miller’s talents ran far deeper than just the moments of comedic brilliance that made him a legend.
Miller took a long and winding route to country stardom. His brother-in-law, Sheb Wooley, encouraged his fiddle playing as a boy, and he sang and played guitar, but he was more interested in working as a ranch hand. But after a stint in the army led to a chance meeting with industry insiders, he made the jump and moved to Nashville.
An audition for Chet Atkins at RCA went poorly, but Miller persevered, focusing on his songwriting. He wrote the classic Ray Price hit “Invitation to the Blues”, along with hits for Jim Reeves, Ernest Tubb, and Faron Young. He also co-wrote with George Jones, and although it wasn’t a hit at the time, their collaboration “Tall, Tall Trees” would become a #1 hit for Alan Jackson three decades later.
Miller’s success as a writer garnered him new attention from Nashville labels, and he had a handful of minor hits on RCA during a short stint on the label. While he was known as a hardcore country singer up until this point, he tried a new approach, moving to California and appearing on network variety shows as a more comedic country singer.
The new image was a big success, and when he began releasing singles and albums on the Smash Records label, he became a superstar. Over the course of just three years, he released several major hits, won eleven Grammy awards, and earned several gold albums, along with the million-selling single, “King of the Road.”
After those peak years, he continued to chart, and often brought attention to material from newer songwriters like Bobby Russell (“Little Green Apples”) and Kris Kristofferson (“Me and Bobby McGee”). His own songwriting led to additional hits for other artists, most notably Eddy Arnold, who had a #2 hit with “The Last Word in Lonesome is Me.”
Miller’s storytelling skills led him to pen several songs for the Disney animated film Robin Hood in 1973, which foreshadowed his next and final major signature success. In 1985, he became the toast of Broadway for his score to the show Big River, which won him two Tony awards. Though Miller continued to work after this incredible achievement, he was soon sidelined by throat cancer, which claimed his life in 1991.
- Dang Me, 1964
- Chug-a-Lug, 1964
- Do-Wacka-Do, 1964
- King of the Road, 1965
- England Swings, 1965
- Husbands and Wives, 1966
- Little Green Apples, 1968
- Me and Bobby McGee, 1969
- Roger and Out, 1964
- The Return of Roger Miller, 1965
- Third Time Around, 1965
- Words and Music, 1966
- Walkin’ in the Sunshine, 1967
- A Tender Look at Love, 1968
#42. Porter Wagoner
Previous: #44. Glen Campbell
100 Greatest Men: The Complete List
Category 100 Greatest Men
Tags: Alan Jackson, Chet Atkins, Eddy Arnold, Ernest Tubb, Faron Young, George Jones, Jim Reeves, Johnny Russell, Kris Kristofferson, Ray Price, Roger Miller, Sheb Wooley
Thursday, December 29th, 2011
The country music umbrella stretched wider than ever this year, regardless of the fact that radio playlists seem shorter than ever.
Of course, it’s not just the Americana acts that can’t get radio play these days. Even top-selling albums by Scotty McCreery and Alison Krauss & Union Station weren’t embraced.
Country Universe editors and contributors each submitted a list of their ten favorite albums of 2011. 31 different albums were included on our lists, and over the next two days, we’ll share with you our collective top twenty.
Top Twenty Albums of 2011, Part One: #20-#11
Beat the Devil and Carry a Rail
His tenure with the Punch Brothers and his winning of the first annual “Steve Martin Prize for Excellence in Banjo and Bluegrass” in 2010 both earned Noam Pikelny the clout to release Beat the Devil and Carry a Rail, his second solo album and first since 2004. Joined by an all-star roster of fellow pickers, Pikelny’s mostly instrumental set is a showcase both for its lead artist’s extraordinary technical skills and for the banjo’s wide-ranging potential. – Jonathan Keefe
Individual Rankings: Jonathan – #4
Recommended Tracks: “Fish and Bird” featuring Aoife O’Donovan, “Boathouse on the Lullwater,” “My Mother Thinks I’m a Lawyer”
The King is Dead
The indie favorites take their hyper-literate brand of folk-rock for a rustic spin, achieving new concision in the process. Colin Meloy’s wild narratives and wilder lexical choices sound right at home in these short-and-sweet song designs, and the Americana field is richer for having them. – Dan Milliken
Individual Rankings: Dan – #4
Recommended Tracks: “Don’t Carry It All,” “June Hymn”
That solo women disappeared from country radio was one of 2011′s major talking points within the genre, but Sunny Sweeney’s Concrete provided some of the most compelling evidence that it wasn’t a lack of strong material that kept female artists off radio playlists. Balancing a keen traditionalist bent with a thoroughly modern point-of-view, Sweeney’s fully-drawn characters and clever spins on familiar country tropes proved that an album that sounds “radio friendly” doesn’t have to be light on actual substance or craft. – Jonathan Keefe
Individual Rankings: Ben – #3
Recommended Tracks: “Amy,” “From a Table Away,” “Fall for Me”
It’s Already Tomorrow
Foster and Lloyd
Their first time around, Foster and Lloyd were one of the coolest country acts going, blending in a love of traditional country music with some ’60s post-British Invasion rock vibes. It’s Already Tomorrow, their first album in 20 years, shows an impressive return to form. Radney Foster and Bill Lloyd have released some terrific solo albums, but there is a definite magic that happens when they record as a duo. – Sam Gazdziak
Individual Rankings: Sam – #2
Recommended Tracks: “Picasso’s Mandolin,” “That’s What She Said,” “Can’t Make Love Make Sense”
This is My Blood
The Dirt Drifters
As mainstream country music becomes increasingly slick and polished, it’s a refreshing change to hear something gritty and rough around the edges. The Dirt Drifters’ debut on Warner Bros. certainly qualifies. If you’re looking for country-rock that takes its cue from run-down country roadhouses instead of ’80s arena rock, this album is for you. – Sam Gazdziak
Individual Rankings: Sam – #3; Dan – #10
Recommended Tracks: “Always a Reason,” “Married Men and Motel Rooms,” “Hurt Somebody”
Ghost to a Ghost/Gutter Town
Hank III’s entire artistic persona is built on indulging in every type of excess he can think of, so it was hardly a shock when, for his first recordings after a less-than-amicable departure from Curb Records, he dropped four full-length albums of new material on the same day. While not all of his ideas are good ones– the less said about Cattle Callin’, the better– the double-album Ghost to a Ghost / Gutter Town proves that Hank III is driven to his spectacular highs not just by the various recreational drugs circulating through his bloodstream but also by a real fearlessness and creativity and a sense of respect for his bloodline. – Jonathan Keefe
Individual Rankings: Jonathan – #1
Recommended Tracks: “Don’t Ya Wanna,” “Musha’s,” “Dyin’ Day”
Ghost on the Canvas
A late-in-life swan song by an icon acutely aware of their own mortality. That’s a fitting description of so many of the best country albums in recent years. This is the best of that subgenre since Porter Wagoner’s Wagonmaster. – Kevin John Coyne
Individual Rankings: Kevin – #5; Dan – #6
Recommended Tracks: “There’s No Me…Without You”, “Ghost on the Canvas”
On the heels of an album that was largely a hit or miss affair, Church delivers a surprisingly electric third album, marked by its edgy sonic splash. But while its spin on country rock is undeniably enticing –a funky mix of swampy, trippy and punchy—the album’s soul is Church himself, a more believable artist this time around than most of his contemporaries. Because for all its hard ass sentiment, Chief actually walks the walk, as authentic as it is audacious. Outlaw in the making? Probably, but don’t tell Church I said so. – Tara Seetharam
Individual Rankings: Tara – #4; Sam – #6; Leeann – #10; Jonathan – #10
Recommended Tracks: “Hungover & Hard Up,” “Keep On,” “Creepin’”
Long Line of Heartaches
What more can you ask for? Purely straightforward and unadulterated country songs delivered by the finest vocalist the genre has ever been privileged to call its own. Smith’s own co-writes with husband and producer Marty Stuart (The title track, “I’m Not Blue,” “Pain of a Broken Heart”) sit comfortably alongside top-notch cover material penned by Harlan Howard, Johnny Russell, and Dallas Frazier, all backed by the sweet sounds of fiddle and steel aplenty. Long Line of Heartaches is a beautiful reminder of what country music once was, and could be again. – Ben Foster
Individual Rankings: Ben – #2; Jonathan – #5
Recommended Tracks: “Long Line of Heartaches,” “I’m Not Blue,” “Ain’t You Even Gonna Cry”
Your Money and My Good Looks
Gene Watson and Rhonda Vincent
There was no chance that this collaboration of straight up country songs between Gene Watson and Rhonda Vincent was going to garner any attention from mainstream country music outlets. However, thanks to memorable songs, pure country production and Watson and Vincent reverently following the spirit of classic country duet albums of the past, this project was surely one of the stand out albums of the year. – Leeann Ward
Individual Rankings: Leeann – #2; Ben – #5
Recommended Tracks: “You Could Know as Much from a Stranger,” “My Sweet Love Ain’t Around”
Category Best of 2011
Tags: Alison Krauss & Union Station, Connie Smith, Dallas Frazier, Eric Church, Foster and Lloyd, Gene Watson, Glen Campbell, Hank III, Harlan Howard, Johnny Russell, Marty Stuart, Noam Pikelny, Porter Wagoner, Punch Brothers, Rhonda Vincent, Scotty McCreery, Sunny Sweeney, The Decemberists, The Dirt Drifters
Monday, January 19th, 2009
Updated for 2009
While the Grammys have honored country music from the very first ceremony in 1959, they did not begin honoring by gender until 1965, when the country categories were expanded along with the other genre categories. This year, the 45th trophy for Best Male Country Vocal Performance will be awarded.
In a continuation of our Grammy Flashback series, here is a rundown of the Best Country Vocal Performance, Male category. It was first awarded in 1965, and included singles competing with albums until the Best Country Album category was added in 1995. When an album is nominated, it is in italics, and a single track is in quotation marks.
As usual, we start with a look at this year’s nominees and work our way back. Be sure to vote in My Kind of Country’s Best Male Country Vocal Performance poll and let your preference for this year’s race be known!
- Trace Adkins, “You’re Gonna Miss This”
- Jamey Johnson, “In Color”
- James Otto, “Just Got Started Lovin’ You”
- Brad Paisley, “Letter to Me”
- George Strait, “Troubadour”
As with the album race, this year’s contenders for Best Male Country Vocal Performance are a combination of unrecognized veterans and promising newcomers. In fact, none of this year’s nominees have won in this category, and only one of them – Brad Paisley – has a Grammy at all.
First, the veterans. Paisley has numerous ACM and CMA victories to his credit, including two each for Male Vocalist. Although he’s been nominated for this award twice before, this is the first time he’s contended with a cut that can’t be dismissed as a novelty number. The touching self-penned “Letter to Me” is his best shot yet at taking this home.
Trace Adkins has been at this a bit longer than Paisley, but this is his first Grammy nomination. His crossover exposure from Celebrity Apprentice might help him out here, along with the fact that the song was considered strong enough by voters to earn a nomination of its own.
But the real veteran to watch out for is George Strait. After being nominated only twice for this category in the first 25 years of his career, voters have now given him three consecutive nominations. This is one of four nods he’s earned for the 2009 ceremony, and “Troubadour” is essentially the story of his epic career distilled into a radio-length song. It would be the perfect way to honor the man and his music in one fell swoop.
However, there’s a newcomer that might be a Grammy favorite already. We just haven’t found out yet. Not James Otto, of course, who is nominated for his charming romantic romp “Just Got Started Lovin’ You”, but rather, Jamey Johnson. The recent Nashville Scene critics’ poll further confirmed the depth of his support among tastemakers, and his nominations for Best Country Song and Best Country Album indicate that he’s very much on the academy’s radar. It helps that he has the most substantial track of the five, and it’s the obvious choice for traditionalists, who have little reason to split their votes in this category. If voters aren’t considering legacy when making their selections, he has a great shot at this.
- Dierks Bentley, “Long Trip Alone”
- Alan Jackson, “A Woman’s Love”
- Tim McGraw, “If You’re Reading This”
- George Strait, “Give it Away”
- Keith Urban, “Stupid Boy”
The often offbeat Grammy voters have been surprisingly mainstream in this category for the past three years, a trend best exemplified by this lineup, which was the first in more than a decade to feature only top ten radio hits. Tim McGraw and Keith Urban were the only two who had won this before, and it was Urban who emerged victorious. “Stupid Boy” was a highlight of his fourth studio album, and this was the only major award that the impressive collection would win.
- Dierks Bentley, “Every Mile a Memory”
- Vince Gill, “The Reason Why”
- George Strait, “The Seashores of Old Mexico”
- Josh Turner, “Would You Go With Me”
- Keith Urban, “Once in a Lifetime”
Vince Gill returned to win in this category for a ninth time with “The Reason Why.” Not only is he, by far, the most honored artist in this category, his wins here account for nine of the nineteen Grammys currently on his mantle.
- George Jones, “Funny How Time Slips Away”
- Toby Keith, “As Good As I Once Was”
- Delbert McClinton, “Midnight Communion”
- Willie Nelson, “Good Ol’ Boys”
- Brad Paisley, “Alcohol”
- Keith Urban, “You’ll Think of Me”
Urban’s biggest and probably best hit launched his second album to triple platinum and established him as a crossover artist. He gave a killer performance of the song on the show. Toby Keith was a first-time nominee here, and while he publicly groused that the Grammys put too little emphasis on commercial success in picking their nominations, he lost to the only track that was a bigger hit than his own.
Tags: Aaron Neville, Alan Jackson, Ben Colder, Billy Dean, Billy Gilman, Bob DiPiero, Bobby Bare, Bobby Lewis, Brad Paisley, Buck Owens, Carl Belew, Charley Pride, Charlie Rich, Cheryl Wheeler, Clay Hart, Clint Black, Dan Seals, David Ball, David Houston, Delbert McClinton, Dierks Bentley, Doug Stone, Dwight Yoakam, Earl Thomas Conley, Eddie Rabbitt, Eddy Arnold, Elvis Presley, Faith Hill, Freddie Hart, Freddy Fender, Garth Brooks, George Burns, George Hamilton IV, George Jones, George Strait, Glen Campbell, Hank Locklin, Hank Williams Jr., Henson Cargill, Jack Greene, James Otto, Jamey Johnson, Jerry Jeff Walker, Jerry Lee Lewis, Jerry Reed, Jim Ed Brown, Jim Reeves, Joe Nichols, John Anderson, John Berry, John Denver, John Michael Montgomery, Johnny Cash, Johnny Lee, Johnny Paycheck, Johnny Russell, Josh Turner, Junior Brown, Keith Urban, Keith Whitley, Kenny Rogers, Kris Kristofferson, Larry Gatlin, Lee Greenwood, Lyle Lovett, Mac Davis, Mary Chapin Carpenter, Mel McDaniel, Merle Haggard, Pat Green, Patty Loveless, Porter Wagoner, Ralph Stanley, Randy Travis, Ray Benson, Ray Charles, Ray Price, Rick Rubin, Ricky Skaggs, Rodney Crowell, Roger Miller, Ronnie Milsap, Roy Clark, Ryan Adams, Sammi Smith, Sonny James, Steve Earle, Steve Wariner, Tammy Wynette, Tim McGraw, Toby Keith, Tom T. Hall, Trace Adkins, Travis Tritt, Vern Gosdin, Vince Gill, Waylon Jennings, Willie Nelson