Each year, invited critics submit their ballots with their favorite music and artists in the appropriate categories. The poll includes the best albums, singles, male and female artists, reissues, live acts, duos and groups, songwriters, new acts, and the over all artists of the year. While the results include the usual suspects, they are mixed with some surprises or names that aren’t commonly associated with mainstream country.

Some of my favorite results include Raul Malo tied at #8 with Gary Allan for top males and Elizabeth Cook at #2 for top females, not to mention Sunny Sweeney’s “From A Table Away” landing at the #3 spot for singles. The most amusing result, however, is Jamey Johnson and Taylor Swift in the top two spots for songwriters.

What’s most fascinating about this process is that the critics have the opportunity to include comments with their ballots. These comments serve to clarify choices and pontificate on the state of country music and its various aspects. There are some insightful comments from both Dan and Tara, along with other critics that you might recognize from our blog roll.

Here are some of the cream of the crop comments that display a satisfyingly diverse array of perspectives:

“Lost amidst the rush to proclaim Jamey Johnson as the man to reclaim country music from pop acts like Taylor Swift is the fact that Johnson and Swift are cut from the precisely same cloth. Johnson is most often championed for the supposed authenticity of his songwriting, but is it really any more believable that he’s been “takin’ dee-pression pills in the Hollywood hills” than it is that Swift regrets not calling an ex when his birthday passed? Both Johnson and Swift have developed public personae and voices as songwriters that trade in the same suspension of disbelief. Swift’s music may not scan as “country” to the extent that Johnson’s does, but that isn’t because she’s any less authentic than Johnson. They both act like they’re “Playing the Part,” and they both do so awfully well.” —Jonathan Keefe, Slant Magazine

“Thank goodness the Internet and satellite radio are around to pick up FM’s slack, because brilliant would-be singles continue popping up on independent releases that Clear Channel won’t touch. My favorite two this year were Elizabeth Cook’s “El Camino” and Chely Wright’s “Notes to the Coroner.” The former: a hilarious country-rap about a creepy, mulleted lothario. The latter: a frank diary introduction from a recently deceased woman. Both: utterly unique and unshakably catchy.” —Dan Milliken, Country Universe

“In 2010, Grandpa told us about the good old days again. The most conspicuous presence on country radio in recent years has been this kindly old gentleman, lugging his aching bones out of bed to share some worldly wisdom. After years of hard labor and heartache, he’s now embarked on a second career as life coach for his hillbilly kin on recent singles from Lee Brice, Billy Currington, Craig Morgan and Alan Jackson (the matured mentor on Zac Brown’s “As She’s Walking Away”). Of course, country radio won’t fool with women over 40 except for Reba, so you never really get to hear Grandma’s side of things.” —Blake Boldt, The 9513

“Despite their two weak singles this year, “Our Kind of Love” and “Hello World,” I remain in Lady Antebellum’s corner. What hooks me is the way they’re able to inject gritty, tangible emotion into the glossiest of production and the vaguest of lyrics. That’s what elevates “Need You Now” to an aching confession, and that’s how, on a song that compares innocence to a condiment, Hillary Scott’s vocal performance alone manages to tell an evocative story.” —Tara Seetharam, Country Universe

“So if country music is doing so well artistically, why is it that whenever I turned on the radio in 2010, I heard mostly pop or rock songs with a token steel guitar thrown into the mix? I’ve long since given up hope of Americana artists ever getting picked up by mainstream radio, and I’ve pretty much come to terms with the fact that Jamey Johnson won’t be getting many (if any) hit songs no matter how good they are. But would it kill them to play some non-hyphenated country music a little more? I know that country-pop and country-rock are the flavors of the month, but where does that leave more traditional artists? I know I’d be more willing to tolerate Jason Aldean rapping or Jennifer Nettles singing with her stupid fake Jamaican accent if “Draw Me a Map” or “Will I Always Be This Way” was next on the playlist.” —Sam Gazdziak, The 9513

“In an August interview with Spinner, Ryan Bingham rejected the notion that he makes country music. Two weeks later, Bingham was named the Americana Music Association’s “Artist of the Year,” thanks in large part to his Academy Award-winning song “The Weary Kind,” a song he wrote for a movie about a country singer. In September, when asked about the state of country music today, rising star Justin Townes Earle told The Wall Street Journal that he’s embarrassed to be from Nashville because of the “shit songwriting, shit records and shit singers who are making a million dollars.” Even mainstream country stalwart Zac Brown distanced himself from the genre, telling American Songwriter in September, “The songs that I write are Southern, but I wouldn’t necessarily call them country.” It’s a shame — and an enormous loss for the genre — that the term “country music” has come to describe something so narrow that bright young artists like these choose not to identify themselves as country. Thank God for Jamey Johnson, who wears the mantle proudly.” —Jim Malec, American Twang

#10
Play On
Carrie Underwood

World: meet Underwood. She’s fiercely compassionate and endearingly idealistic (the riveting “Change”). She holds her beliefs with a firm but quiet conviction (“Temporary Home”). She’s as comfortable and convincing at tearing down a wrong-doer (the Dixie Chicks-esque “Songs Like This”) as she is nursing an irreparable heartache, whether it’s in the form of a haunting country standard (“Someday When I Stop Loving You”) or a rich pop ballad (“What Can I Say?”). And she’s one of the most gifted vocalists of this generation, possessing an instrument that, when colored and layered with emotion as she’s aptly learned to do on Play On, can have bone-chilling effects.

Like it or leave it, Play On is the most authentic encapsulation of Underwood’s artistry and persona to date, and serves as an exciting glimpse at how far a little growth can carry her. The best is yet to come, but in the meantime, the “good” is pretty damn good. – Tara Seetharam

#9
Sara Watkins
Sara Watkins

As most people know by now, Sara Watkins is the female member of the now-disbanded (hopefully temporarily) New Grass trio, Nickel Creek. While Nickel Creek was difficult to classify in a certain genre (not bluegrass, not country), they were embraced by bluegrass and country music fans alike. Each member of the popular trio has released intriguing projects outside of Nickel Creek, but Watkins’ album  has assumed the most decidedly country direction of them all. As a result, we are treated to a sublime album thanks to Watkins’ sweet voice and a set of impressively solid songs. – Leeann Ward

#8
Live at Eddie’s Attic
The Civil Wars

When Alabama singer/songwriter John Paul White and eleven-time Dove Award nominee Joy Williams formed the Civil Wars, their first release Live at Eddie’s Attic (available for free download) appeared to be purely publicity, not something one expects to be spectacular. Yet, Live at Eddie’s Attic is exactly that, excelling in the emerging acoustic movement that floats along the outskirts of country much like the most pop-oriented country radio fare, albeit in its own direction. – William Ward

#7
Live on the Inside
Sugarland

I’ve never heard a live album that has so made me long to see an act in concert. Sure, the live versions of the hits are solid, especially the marriage of “Joey” with Nightswimming,”  But it’s the broad selection of interesting covers that make this essential listening. Where else can you hear Pearl Jam and Kings of Leon songs alongside songs by The B-52′s and Edie Brickell & The New Bohemians? – Okay, fine. Satellite radio. But you won’t hear Nettle’s irreplaceable drawl wrapped around them anywhere else. – Kevin Coyne

#6
Revolution
Miranda Lambert

If Crazy Ex-Girlfriend was the album that commanded us to sit up and take notice of Lambert, Revolution is the album that lures us in, one intriguing, introspective song at a time. By shedding the authentic but limiting aggression-heavy skin of her previous album, Lambert is free to explore the complex of emotions behind her fierce persona, in songs that range from poking tongue-in-cheek fun (“Only Prettier”) to honestly and accessibly conveying love (“Love Song”). And it should be noted that, while Lambert has honed her songwriting skills to a tee on Revolution, her largely underrated vocal skills are perhaps equally superb on this album; this is no more apparent than on the touching, beautifully restrained “The House that Built Me.” – TS

#5
Written in Chalk
Buddy & Julie Miller

A textbook Americana album – textbook in the sense that it truly does blend a wide range of roots sounds, and in the sense that it’s really freaking good. What you get here is part warm country (“Ellis County”), part dirty rock ‘n’ roll (“Gasoline and Matches”), part quiet folk (“Chalk”), and even part slow-burning jazz (“Long Time”). The common thread is immaculately crafted melodies and productions which nail the essence of each song’s emotional point.
- Dan Milliken

#4
Willie and the Wheel
Willie Nelson & Asleep at the Wheel

Three decades in the making, Willie & The Wheel came to us in a swingin’ flurry at the beginning of 2009, setting the bar so high for future albums that very few were able to outshine it. It’s one of those rare albums that sounds inspired from start to finish, as though not one single note of the wildly energetic, masterfully performed disc was taken for granted by its creators. Given the current musical landscape, Willie & The Wheel may feel like a tribute to Western Swing, but make no mistake: distinct and compelling, this is an album that embodies and, in many ways, enhances Western Swing – a classic on its own merits. – TS

#3
The Excitement Plan
Todd Snider

The Excitement Plan is more acoustic than some of Snider’s previous work (thanks to producer Don Was), but the clever turn of ideas and his trademark relaxed delivery is ever-present. As always, Snider gently pokes a stick at the world, along with himself, as he views life’s situations through his typically goofy, but insightful, lens. Album highlights include the retro-sounding “Don’t Tempt Me” (with Loretta Lynn), the self-aware/self-deprecating “Money, Compliments, Publicity (Song Number Ten)” and the simple “Corpus Christi Bay.” With a string of quality and engaging albums under his belt, it’s heartening that The Excitement Plan manages to be one of Snider’s most solid   projects so far. – LW

#2
Midnight at the Movies
Justin Townes Earle

Justin Townes Earle’s largest claim to fame is still a matter of his family tree, despite musical differences that, in many ways, make comparisons with his acclaimed singer/songwriter father quite challenging. Midnight at the Movies continues Justin’s argument for fame under his own merits, highlighting his less political and more personal writing with a warm voice much less worn than his father’s. It also provides one of the strongest songs of the decade, “Mama’s Eyes,” an epic wrapped up in a package so tiny it leaves you wondering how it was done. – WW

#1
Satisfied
Ashley Monroe

Satisfied was supposed to be released in 2006, but since the album did not produce any top 20 singles, Columbia Nashville held the album instead of officially releasing it. It did momentarily find its way onto digital retail outlets for a month, just long enough to gain hype by ardent supporters who recognized that Satisfied was a real gem that deserved to be officially released to the public. Fortunately, the powers that be at Columbia (though Monroe and the record label had long since parted ways) finally decided to re-release the digital version of the album in May 2009, this time for good.

While Monroe was merely nineteen years old when she recorded this album, she neither caters to the teen crowd nor overreaches to prove her maturity. Instead, her warm, clear crackling voice simply sings of what she knows. From her playful duet with Dwight Yoakam (“That’s Why We Call Each Other Baby”) to introspective compositions such as “Hank’s Cadillac” and the album’s title track, Satisfied is smart without being pretentious, contemporary without being bubblegum and traditional without being stale. – LW

]]> http://www.countryuniverse.net/2010/01/15/best-country-albums-of-2009-part-2-10-1/feed/ 49 http://www.countryuniverse.net/2009/12/06/the-100-greatest-albums-of-the-decade-part-7/ http://www.countryuniverse.net/2009/12/06/the-100-greatest-albums-of-the-decade-part-7/#comments Mon, 07 Dec 2009 04:30:14 +0000 Kevin John Coyne http://www.countryuniverse.net/?p=13601 The 100 Greatest Albums of the Decade, Part 7 #40 Tim McGraw, Live Like You Were Dying The title track looks forward, pondering what to do with the scarcity of time left, but the rest of the best of these tracks look backward, sometimes with sadness ("My Old Friend"), sometimes with humor ("Back When"), and often with both ("Open Season on My Heart", "Can't Tell Me Nothin'.") - Kevin Coyne Recommended Tracks: “My Old Friend", "Old Town New", "Open Season On My Heart" #39 Ashley Monroe, Satisfied At just nineteen years old, Ashley Monroe has made an album with content comparatively mature (both in lyrics and production) to most other albums on this list. With a voice naturally tinged with both twang and sophistication, Monroe sings of loss, relational strife and even regret and sorrow with acute adeptness. While many of the compositions are sonically and topically subdued, she is not incapable of letting loose on certain numbers such as Kasey Chambers' “Pony”, which includes a mean yodel, and a delightful duet with Dwight Yoakam, “That’s Why We Call Each Other Baby.” - Leeann Ward Recommended Tracks: “Pony”, “Satisfied”, “Hank’s Cadillac”]]> The 100 Greatest Albums of the Decade, Part 7

#40
Tim McGraw, Live Like You Were Dying

The title track looks forward, pondering what to do with the scarcity of time left, but the best of the rest of these tracks look backward, sometimes with sadness (“My Old Friend”), sometimes with humor (“Back When”), and often with both (“Open Season on My Heart”, “Can’t Tell Me Nothin’.”) – Kevin Coyne

Recommended Tracks: “My Old Friend”, “Old Town New”, “Open Season On My Heart”

#39
Ashley Monroe,  Satisfied

At just nineteen years old, Ashley Monroe has made an album with content comparatively mature, both in lyrics and production, to most other albums on this list. With a voice naturally tinged with both twang and sophistication, Monroe sings of loss, relational strife and even regret and sorrow with acute adeptness. While many of the compositions are sonically and topically subdued, she is not incapable of letting loose on certain numbers such as Kasey Chambers’ “Pony”, which includes a mean yodel, and a delightful duet with Dwight Yoakam, “That’s Why We Call Each Other Baby.” – Leeann Ward

Recommended Tracks: “Pony”, “Satisfied”, “Hank’s Cadillac”

#38
Dolly Parton, Little Sparrow

She got her groove back with The Grass Is Blue, but Parton’s career revival truly peaked when she revisited her mountain roots on this classic album. She won a Grammy for her treatment of the Collective Soul hit “Shine”, and she wrote new songs like the title track, which ranks among her best work. She even revisited her finest pre-”Coat of Many Colors” composition, “Down From Dover”, restoring the verse that Porter Wagoner had forced her to edit out for the sake of brevity. – KC

Recommended Tracks: “Little Sparrow”, “Shine”, “Down From Dover”

#37
Carrie Underwood, Some Hearts

Six months after taking the American Idol crown, Underwood unapologetically introduced herself as a polished country-pop artist via Some Hearts. With explosive hits like “Before He Cheats” at the helm, the album became the best-selling debut by a solo female country artist, making it easy to overlook that it is as genuine as it is commercially viable. It’s an album that fits Underwood like a glove, bottling a unique combination of naivety and perceptiveness, sass and charm, bombast and reservation – the kinds of paradoxes that have come to define her as an artist and as a person. And while the material is standard country-pop, to be sure, we’re reminded by Underwood’s compelling, crystalline performances that standard material can be made to be just as memorable as anything else. – Tara Seetharam

Recommended Tracks: “Wasted”, “Jesus, Take The Wheel”, “The Night Before (Life Goes On)”

#36
Tim O’Brien and Darrell Scott, Real Time

In which two modern virtuosos sit in a living room and pluck out an acoustic album to match any before or since. The playing is exemplary, the songwriting deeply inspired, and the country-folk-bluegrass sound ageless. – Dan Milliken

Recommended Tracks: “Walk Beside Me”, “There Ain’t No Easy Way”, “Long Time Gone”

#35
Soundtrack, O Brother, Where Art Thou?

Sometimes an album’s perceived quality becomes inextricable from its legend. Such is the case with the soundtrack to the Coen Brothers’ modern-day Odyssey, one of the bestselling country sets of the decade and a landmark in the genre’s history for its regeneration of mainstream interest in roots music. In essence, it’s really just a bunch of old-time covers done in exceptionally convincing old-time form. Whether that’s enough to put it among the decade’s finest country albums is up for debate – but there’s no denying it’s among the most essential. – DM

Recommended Tracks: “I Am a Man of Constant Sorrow”, “Didn’t Leave Nobody But the Baby”, “O Death”

#34
Buddy and Julie Miller, Written in Chalk

Americana’s favorite couple outdo themselves on one of this year’s most revelatory albums, a tour de force of down-home soul and raw depth. The Millers excel at finding just the right sound to express the sentiments of their material, scoring randy lovemakin’ (“Gasoline And Matches”) and quiet grief (“Don’t Say Goodbye”) with equal aplomb. – DM

Recommended Tracks: “One Part, Two Part”, “Chalk”, “Everytime We Say Goodbye”

#33
Patty Loveless, Sleepless Nights

The last decade has seen numerous well executed traditional covers albums, but none of higher quality than Patty Loveless’ tribute to tradition, Sleepless Nights. Loveless culls songs from various places, including compositions mostly previously attributed to male singers, to create an album that solidly stands as a cohesive unit. Due to Loveless’ naturally distinctive twang and her producer husband’s (Emory Gordy, Jr.) tasteful arrangements (prominent bass, light percussion and steel guitar), Sleepless Nights does well at staying authentic while still sounding progressive enough to warrant yet another covers project. – LW

Recommended Tracks: “Pain of Loving You”, “Sleepless Nights”, “Cold Cold Heart”

#32
Justin Townes Earle, Midnight at the Movies

While The Good Life gained considerably more attention among traditional country audiences than Midnight at the Movies, with Justin Townes Earle’s follow-up, we are presented with his first fully mature album. Nominated for an Americana Music Award for Album of the Year, Midnight at the Movies delivers a voice fallen far from the rough gravel of Earle’s father, Steve Earle, but with gleaming jewels of writing equal to some of his father’s best work. – William Ward

Recommended Tracks: “They Killed John Henry”, “Mama’s Eyes”, “Black Eyed Suzy”

#31
Keith Urban, Golden Road

Urban’s second solo album is an exuberant, original piece of work that solidified his place as one of the genre’s most gifted and charismatic male artists. The album showcases both his fine musicianship and intuitive sense of balance, as the material embraces exhilaration without feeling frivolous, and sentimentality without feeling melodramatic. Much like his other albums, it’s hard to classify Urban’s style on Golden Road, with its intermixed elements of rock, pop and traditional country – but who the heck cares when it’s this good? – TS

Recommended Tracks: “Who Wouldn’t Wanna Be Me”, “You’ll Think Of Me”, “Raining On Sunday”

- – -

• 100 Greatest Albums of the Decade, Part 1: #100-#91
• 100 Greatest Albums of the Decade, Part 2: #90-#81
• 100 Greatest Albums of the Decade, Part 3: #80-#71
• 100 Greatest Albums of the Decade, Part 4: #70-#61
• 100 Greatest Albums of the Decade, Part 5: #60-51
• 100 Greatest Albums of the Decade, Part 6: #50-#41
• 100 Greatest Albums of the Decade, Part 7: #40-#31
• 100 Greatest Albums of the Decade, Part 8: #30-#21
• 100 Greatest Albums of the Decade, Part 9: #20-#11
• 100 Greatest Albums of the Decade, Conclusion: #10-#1

#80
Martina McBride, Timeless

McBride has a voice that would have been as relevant in country music fifty years ago as it is today, and her album of cover songs exemplifies this. She doesn’t attempt to move any of the songs to a different level, but instead inhabits the artists’ original style with precision and spirit. The result is a pure, respectful homage to the country greats. – Tara Seetharam

Recommended Tracks: “Make The World Go Away”, “Pick Me Up On Your Way Down”

#79
Felice Brothers, Yonder is the Clock

The Felice Brothers are the least-known among the members of ‘The Big Surprise Tour’ headlined by Old Crow Medicine Show and featuring Dave Rawlings Machine with Gillian Welch, and Justin Townes Earle. Melding country-rock and folk-rock, they are roots-influenced and made their start playing in the subway. While it may take an extremely big tent to call them “country,” consistent Dylan comparisons make Yonder is the Clock hard to ignore. – William Ward

Recommended Tracks: “Run, Chicken, Run”, “The Big Surprise”

#78
Big & Rich, Horse of a Different Color

Big Kenny’s and John Rich’s voices and creativity blend to form a richly textured harmony that is only fully realized when they work together, as is most evident on their debut album that took country music by storm in a huge way. While their subsequent projects haven’t even come close to matching the potential of their first, Horse of A Different Coloris an album of refreshing risks and creativity that has been both embraced and criticized as a result of unique production and odd lyrical twists. Songs ranging from ridiculous to philosophical and all points inbetween make this album one of the most memorable, if not controversial, mainstream albums of the decade. – Leeann Ward

Recommended Tracks: “Holy Water”, “Live This Life”

#77
Dierks Bentley, Long Trip Alone

Bentley takes his road theme all the way, crafting a concept album that both celebrates the loneliness of the road and mourns the resting places left behind by those who choose to stay on it. – Kevin Coyne

Recommended Tracks: “Long Trip Alone”, “The Heaven I’m Headed To”

#76
Josh Turner, Everything is Fine

Turner’s third album is an outstanding example of a style that is deeply traditional yet still current, assured yet still vulnerable. His distinctive voice is paired with a well-crafted and charming set of songs on this album, which further solidified him as one of the genre’s leading traditionalists. – TS

Recommended Tracks: “Another Try”, “Nowhere Fast”

#75
Reckless Kelly, Bulletproof

Country and power-pop collide in one of Texas’ most memorable albums in years. If Bulletproof has a weakness, it’s that its love songs and road anthems are all so damn hooky that the deeper material has to fight to steal your attention away. – Dan Milliken

Recommended Tracks: “American Blood”, “Mirage”

#74
Chick Corea & Béla Fleck, The Enchantment

The Enchantment is a collaboration between jazz pianist Chick Corea and banjo virtuoso Béla Fleck. Full of soaring energy and technical prowess, The Enchantment blends the influences of both Corea and Fleck resulting in jazz compositions infused with bluegrass overtones.- WW

Recommended Tracks: “Mountain”, “Sunset Road”

#73
James Otto, Sunset Man

On his breakthrough sophomore album, Otto’s voice is commanding and rich with soul, proving he has one of the most interesting male voices to come out of country music in the past few years. Sunset Man is a solid contemporary country album that has his voice melting just as effectively with bluesy, mid-tempo numbers as it does with muscular power ballads. – TS

Recommended Tracks: “For You”, “These Are The Good Ole Days”

#72
Jon Randall, Walking Among the Living

Thanks to his very lucrative songwriting collaboration with Bill Anderson that resulted in a smash hit for Brad Paisley and Alison Krauss with “Whiskey Lullaby”, Jon Randall received a major label deal with Sony. Unfortunately, Randall’s only album with them was not even a blip on most people’s radars, though not due to lack of quality. Randall’s gorgeous tenor, most closely comparable to Vince Gill’s,tastefully blends with rootsy instrumentation and solid compositions to create a humble work of art. – LW

Recommended Tracks: “I Shouldn’t Do This”, “Lonely for Awhile”

#71
Crooked Still, Shaken By a Low Sound

Crooked Still is an alternate bluegrass group led by vocalist Aoife O’Donovan. With haunting vocals and technical prowess Crooked Still pushes acoustic music in a manner similar to Nickel Creek but with a slightly more recognizable traditional bend. – WW

Recommended Tracks: “Wind and Rain”, “Little Sadie”

- – -

• 100 Greatest Albums of the Decade, Part 1: #100-#91
• 100 Greatest Albums of the Decade, Part 2: #90-#81
• 100 Greatest Albums of the Decade, Part 4: #70-#61
• 100 Greatest Albums of the Decade, Part 5: #60-51
• 100 Greatest Albums of the Decade, Part 6: #50-#41
• 100 Greatest Albums of the Decade, Part 7: #40-#31
• 100 Greatest Albums of the Decade, Part 8: #30-#21
• 100 Greatest Albums of the Decade, Part 9: #20-#11
• 100 Greatest Albums of the Decade, Conclusion: #10-#1

PRESS RELEASE:

The Big Surprise Tour – featuring Old Crow Medicine Show, Dave Rawlings Machine (w/ Gillian Welch), The Felice Brothers and Justin Townes Earle – kicks off in Hampton, NH on Tuesday Aug. 4.

Born out of a deep running comradery built on countless tours and ties between a host of excellent musicians, each evening is sure to be a unique experience as they all put their many combined years of musicianship and knowledge of song-craft and American music into play for these performances.

This is gonna be an amazing show, so get your tickets now!

Tour Dates:

8/4 – Hampton Beach, NH @ Casino Ballroom

8/5 – Boston, MA @ House Of Blues

8/6 – New York, NY @ Beacon Theatre

8/7 – Philadelphia, PA @ Electric Factory

8/9 – Charlottesville, VA @ Charlottesville Pavilion

8/10 – Cary, NC @ Cary’s Booth Amphitheatre

8/12 – Louisville, KY @ Waterfront Park

8/13 – Nashville, TN @ Riverfront Park

8/14 – Knoxville, TN @ World’s Fair Park

ALBUM OF THE YEAR
Real Animal, by ALEJANDRO ESCOVEDO
Written in Chalk, by BUDDY & JULIE MILLER
Jason Isbell & The 40 Unit, by JASON ISBELL & THE 40 UNIT
Midnight At The Movies, by JUSTIN TOWNES EARLE

ARTIST OF THE YEAR
ALEJANDRO ESCOVEDO
BUDDY MILLER
JUSTIN TOWNES EARLE
RAUL MALO

INSTRUMENTALIST OF THE YEAR
BUDDY MILLER
GURF MORLIX
JERRY DOUGLAS
SAM BUSH

NEW & EMERGING ARTIST
BAND OF HEATHENS
BELLEVILLE OUTFIT
JUSTIN TOWNES EARLE
SARAH BORGES

SONG OF THE YEAR
“Chalk,” written by JULIE MILLER, performed by BUDDY MILLER & PATTY GRIFFIN
“Country Love” by the GOURDS
“Homeland Refugee,” by JOE ELY, JIMMIE DALE GILMORE, and BUTCH HANCOCK, performed by the FLATLANDERS
“Rattlin’ Bones” by KASEY CHAMBERS & SHANE NICHOLSON, performed by KASEY CHAMBERS & SHANE NICHOLSON
“Sex And Gasoline,” by RODNEY CROWELL, performed by RODNEY CROWELL

DUO GROUP OF THE YEAR
BUDDY & JULIE MILLER
FLATLANDERS
KASEY CHAMBERS & SHANE NICHOLSON
RECKLESS KELLY

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

Holly Williams sings a tribute to her selfless mother, simply titled “Mama.” While the song is as simple as the title, it is sweet and intriguingly revealing about her childhood. In “Mama”, Williams thanks her mom for shielding her from the emotional turmoil that undoubtedly plagued her as a result of a broken marriage to the famously rebel rousing, Hank Williams Jr. Through the sincere lyrics, we learn that while her mother had ample reason to turn her children against their father, she chose to put aside her natural emotional pain to ensure that they had a chance to enjoy a meaningful relationship with him instead. She sings: “You did more good for me than you will ever know./I’ve seen mothers fill their children’s hearts with hate./But you knew better than to drag me down with you/You let me love my daddy just the same.”

Holly Williams smoky, yet sensitive vocal, is supported by the aid of pleasant and unobtrusive production, which mostly consists of tasteful mandolin, Dobro and light drums. While it’s not as intricate and subtle as Justin Townes Earle’s tribute to his Mama, it is equally as heartfelt and just as emotional.

Grade: B+

Listen: “Mama”

Buy (for free):

Given these qualities, one of Earle’s most indelible contributions to country music will be as a songwriter. His empathy, awareness of the world around him and curiosity have allowed him to musically explore the human soul. He is uniquely unafraid to step out of himself and into another’s shoes, to feel another’s joy and pain and to tell his or her story.  In many ways, Earle is “the seeker” he sings of in his song of the same title:

You can’t always believe your eyes
It’s your heart that sees through all the lies
And the first answer follows the first question asked
The mystery unmasked by the seeker

Earle broke onto the country scene singing songs with insight into the rock ‘n roll lifestyle, love and small towns. He moved on to tales of soldiers, bad boys and drugs (with no implied connection between the three). Later Earle unabashedly thrust himself into the realm of history, world politics and religion However, through it all, Earle’s music has remained true to the man and his apparent musical philosophy: seek the truth.

Whatever you want to say about Earle’s politics, very few of his songs, whether dealing with simple emotions or complicated situations, reflect anything other than that one maxim. To accomplish that end, Earle typically thrusts himself in the role of the protagonist, whether he goes by the pronoun “I” or refers to himself as Billy Austin or John Lee Pettimore. In this role, he rarely judges, but explores the potential thoughts, feelings and motivations of his assumed characters.

For example, in “What’s a Simple Man To Do?” Earle doesn’t comment on the immigration debate that occasionally flairs in Washington, he simply steps into the shoes of one man caught up in the dehumanizing political tug-of-war and tells his story. And in “Ellis Unit One,” Earle doesn’t espouse his strong views on the death penalty, but simply takes on the persona of a veteran and second generation prison guard who lives with the burden of working on death row. Regardless of your political persuasion, these songs stand alone as beautiful, emotionally honest stories.

Earle also seeks the truth in a range of emotions. Nobody is better at hitting on a specific emotion than Earle, whether it be slaying loneliness with songs such as “My Old Friend the Blues,” “South Nashville Blues” and “Lonelier Than This;” or tugging the heartstrings with “I Don’t Want To Lose You Yet,” “Sometimes She Forgets,” and “Poison Lovers.”  He even kicks restlessness and rebelliousness in the arse with “The Week of Living Dangerously,” “Angry Young Man” and “The Devil’s Right Hand.”

Unsurprisingly, one of Earle’s most controversial songs may also provide the most striking insight into the man himself. Without commenting on whether or not I agree with “John Walker’s Blues” (or intending to start a discussion on it), the motivation behind Earle’s decision to write the song tells a lot about the man and how he perceives his role as a songwriter:

“I checked into a hotel, turned on my laptop and put in ‘islam.com’,” he says. “I was looking for a chorus. I found it as a sound file: ‘A shadu la ilaha illa Allah’. Then I sat up all night and wrote a song designed to piss some very important people off. But the main reason I did it was to humanise a young man that everybody seemed determined to vilify.”

It’s hard to hate and easy to love a songwriter who approaches his craft with such an intense focus on honesty and humanity. And if country music is truly “three chords and the truth,” Earle is (or should be, in my opinion) one of its greats.

Who is your favorite songwriter and why?

Therefore, I’ve found it unfortunate in recent years that mainstream country has focused more on combining a catchy hook with an awesome guitar solo and some cool beats, than in relaying the truth.  I realize that may be where the trend (and therefore the money) is heading these days, but, in my opinion, it’s not where the heart of country music lies.

However, I can’t say that great songs – particularly story songs  – are not out there … they’re just harder to find.  One of my recent finds was a song by Canadian roots duo Twilight Hotel, called “The Ballad of Salvador & Isabelle,” from their album Highway Prayer.  In true country fashion, it makes my heart ache every time I listen to it. The song relates in narrative fashion the tale of two siblings from Mexico trying to find a better life in America.

For me, the song was enhanced by how Dave Quanbury (one half of Twilight Hotel and the song’s writer) explained it to the 9513 last January:

“I think a lot of people probably wouldn’t agree with that song … [but] I think it’s a story that needs to be told. And I think that’s what songwriters do, really–even if you don’t have any direct connection to it…what we do is observe situations and express those observations and issues, and then the listener can interpret them how they want.”

I challenge you to listen to “The Ballad of Salvador & Isabelle” and not make it to the end.  It is one of those rare songs where you simply have to finish listening because you want (and have) to know what happens.

Discussion: What is your favorite classic story song? Any recent discoveries? Please share.

(Also check out: “Adrienna Valentine” by Trent Wagler and Jay Lapp, Adrienna Valentine; “Yuma” by Justin Townes Earle, Yuma.)

#10

The SteelDrivers, The SteelDrivers

Chris Stapleton’s voice just blows me away. As Lee Ann Womack has recently observed, he sings like a real man. He takes Travis Tritt’s soulfulness to a whole new level. With incredible harmonies and terrific songs not limited to “Blue Side of the Mountain” and “Drinkin’ Dark Whiskey”, this is a strong project that certainly stood out in 2008.

#9

Jason Boland & The Stragglers, Comal County Blue

I love Boland’s folk-tinged country voice, which sings these memorable fiddle laden melodies to great affect. While the lyrics can be abstract at times, they still manage to feel meaningful. I’ve come to realize that what ultimately appeals to me about this album is the fact that it reminds me of good nineties country music, which is the era that drew me to this genre in the first place.

#8

Darrell Scott, Modern Hymns

My admiration for Darrell Scott is unending. I, of course, love his voice, but I especially love his thoughtful songwriting. “You’ll Never Leave Harlan Alive” just floors me every time I hear it. In this project, however, he chose to cover some of his favorite songs that he classifies as modern hymns. Unsurprisingly, these choices turn out to be as interesting as his own compositions, which simply confirms that his talent is inspired by tasteful writing equal to his own.

#7

Jamey Johnson, That Lonesome Song

Admittedly, nothing about this album is warm or pretty. Johnson’s vocals are harsh and the songs are mostly darker than we’re accustomed to hearing in country music these days. Along with the outlaw tinged productions, these factors are the fundamental elements of this great album.

#6

Peter Cooper, Mission Door

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

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

#5

Joey + Rory, The Life Of A Song

As I’ve said before, Joey + Rory are my favorite new artists of 2008. Their warm voices, solid songs and organic productions make this album a wonderful surprise coming from a reality based television show. As I promised in my initial review of this album, it easily slides into my top five favorite albums of the year.

#4

Kathy Mattea, Coal

Like so many others have disclosed, this album had to grow on me. It was not an instant hit. In fact, when I first heard it, I was disappointed because I felt as though it lacked something. I was expecting something livelier from Mattea. When I think about it though, I don’t know why. The purpose of this project was to expose the life of coal miners, which is not a glamorous way of life. In fact, it is one of the harshest ways to have to make a living. So, in that respect, Mattea was brilliant. She did not bend to the possible temptation to add “life” to songs. Instead, she avoided those surface flourishes and made an album that adequately and accurately captures the subdued consequences of being a coal miner. This album is an incredible example of artistic integrity.

#3

Justin Townes Earle, The Good Life

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

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

#2

Patty Loveless, Sleepless Nights

Patty Loveless manages to make an album of covers that both stays true to the originals while still sounding fresh. Her soulful twang is meant to sing these wisely chosen songs while Emory Gordy Jr.’s productions are warm, crisp and tasteful.

#1

Kasey Chambers & Shane Nicholson, Rattlin’ Bones

As any Country Universe reader must be aware, this is clearly my favorite album of 2008. In fact, I’ll be hard pressed to find another album that I’ll like more this decade. The Australian husband and wife team, Kasey Chambers and Shane Nicholson, somehow compromise their more rock and pop leaning styles to create this masterpiece of both rootsy and straight up country songs. While the achingly sad “One More Year” remains my favorite of the compositions, my other favorites constantly shift as I’ve listened to Rattlin’ Bones over time.

Instead of trying to further rehash my feelings regarding this project, I will simply refer you to my original review. Just know that anything that I’d add would only be more words of adulation.

Here are some albums that were up for serious consideration for this list:

Ashton Shepherd, Sounds So Good

Randy Travis, Around The Bend

Hal Ketchum, Father Time

Emmylou Harris, All I Intended To Be

Reckless Kelly, Bulletproof

Charlie Louvin, Sings Murder Ballads And Disaster Songs