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
The ACM Awards has traditionally been overshadowed by the CMA Awards, despite its longer existence. This is for several reasons. First, the ACM originally existed to emphasize the West Coast country music scene, whereas the CMA Awards represented Nashville from the start. The ACM has also been more commercially-oriented from the beginning, as the history of this category proves. Eighteen of the last twenty winners in this ACM category are multi-platinum sellers, and the organization allowed greatest hits albums to compete for more than a decade.
Still, the ACM category has bragging rights of its own. Critically-acclaimed albums like Storms of Life, Trio, Killin’ Time and Crazy Ex-Girlfriend won at the ACMs but were overlooked by the CMAs. Additionally, women have also been far more successful at this ceremony. Only five women have ever won the CMA Album trophy, and one of them was Sissy Spacek! At the ACMs, women have dominated the category for the past three years, and the category has honored everyone from Loretta Lynn and Donna Fargo to K.T. Oslin and Shania Twain.
A special note about ACM flashbacks. Like the Grammys, the ACMs issue their award for a given year the following year, so the awards for 2009, for example, are given out in 2010. For the purposes of the flashbacks, Country Universe notes the year the award is presented. While the ACM first presented awards in 1966, the Album category wasn’t introduced until 1968.
As with other flashbacks, we begin with a look at this year’s nominees:
Lady Antebellum, Lady Antebellum
Miranda Lambert, Revolution
Brad Paisley, American Saturday Night
Carrie Underwood, Play On
Zac Brown Band, The Foundation
Three previous winners – Miranda Lambert, Brad Paisley, and Carrie Underwood – compete against the debut albums of two hot bands. Lady Antebellum and Zac Brown Band each picked up a Grammy this year and are well represented on the rest of the ACM ballot. This is a very competitive race. Even the sales-friendly nature of the ACMs doesn’t help much here, as four of these albums are platinum and Lambert’s just went gold.
Jamey Johnson, That Lonesome Song
Montgomery Gentry, Back When I Knew It All
George Strait, Troubadour
Taylor Swift, Fearless
Carrie Underwood, Carnival Ride
Taylor Swift became the third consecutive female artist to win in this category, a feat that would’ve seemed unthinkable earlier in the middle part of the decade, when country radio all but exiled women from radio.
Rodney Atkins, If You’re Going Through Hell
Kenny Chesney, Just Who I Am: Poets and Pirates
Miranda Lambert, Crazy Ex-Girlfriend
Brad Paisley, 5th Gear
Taylor Swift, Taylor Swift
A visibly shocked Lambert accepted the trophy for her critically acclaimed sophomore set. While it did go gold, it remains an anomaly among ACM album winners. You have to go all the way back to 1979 (Oak Ridge Boys) to find another ACM album winner that didn’t sell platinum or higher.
Brooks & Dunn, Hillbilly Deluxe
Vince Gill, These Days
Rascal Flatts, Me and My Gang
George Strait, It Just Comes Natural
Carrie Underwood, Some Hearts
Carrie Underwood became the first solo female artist to win this award in eleven years with her 7 million-selling Some Hearts.
Gary Allan, Tough All Over
Brad Paisley, Time Well Wasted
Rascal Flatts, Feels Like Today
Sugarland, Twice the Speed of Life
Lee Ann Womack, There’s More Where That Came From
A strikingly strong lineup, with the victory going to Brad Paisley. Due to differences in eligibility between the two shows, there are two CMA winners in this category. Not only did Paisley repeat his victory the following fall, Womack won the CMA the previous year.
Kenny Chesney, When the Sun Goes Down
Sara Evans, Restless
Tim McGraw, Live Like You Were Dying
Keith Urban, Be Here
Gretchen Wilson, Here for the Party
Though he’s always been popular with the CMA and Grammy voters, Urban’s only Album award to date came courtesy of the ACMs. Oddly enough, they haven’t nominated him since.
Brooks & Dunn, Red Dirt Road
Toby Keith, Shock’n Y’All
Martina McBride, Martina
Brad Paisley, Mud on the Tires
George Strait, Honkytonkville
On an evening where he won several major awards, Keith picked up his second Album of the Year trophy from the ACMs for an album that included the #1 hits “American Soldier”, “Whiskey Girl”, and “I Love This Bar.”
Kenny Chesney, No Shoes, No Shirt, No Problems
Dixie Chicks, Home
Alan Jackson, Drive
Toby Keith, Unleashed
Trick Pony, On a Mission
If you think all of those 2009 nominations for Heidi Newfield were surprising, check out Trick Pony’s presence in this category among four albums that sold more than 4 million copies each. Alan Jackson picked up his third trophy in this category for the album that included “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”.
Brooks & Dunn, Steers & Stripes
Toby Keith, Pull My Chain
Tim McGraw, Set This Circus Down
Soundtrack, O Brother, Where Art Thou?
Travis Tritt, Down the Road I Go
Big comeback albums for Brooks & Dunn and Travis Tritt were nominated, but it was no surprise to see the victory go to the landmark soundtrack that sold more than eight million copies in the end.
Johnny Cash, American III: Solitary Man
Billy Gilman, One Voice
Toby Keith, How Do You Like Me Now?!
Brad Paisley, Who Needs Pictures
Lee Ann Womack, I Hope You Dance
Even Keith was a veteran in comparison to Gilman and Paisley, who were nominated with their debut albums, but the biggest surprise was the nomination of Cash for his third project with Rick Rubin. Even the CMA didn’t recognize those collaborations until the fourth volume and “Hurt.”
Asleep at the Wheel, Ride With Bob
Dixie Chicks, Fly
Faith Hill, Breathe
George Jones, Cold Hard Truth
Tim McGraw, A Place in the Sun
An impressively eclectic lineup is unsurprisingly represented by the consensus choice Dixie Chicks, the one act that everybody used to agree on.
Garth Brooks, Double Live
Dixie Chicks, Wide Open Spaces
Faith Hill, Faith
Jo Dee Messina, I’m Alright
George Strait, One Step at a Time
For the fourth time in the nineties, the trophy went to an artist’s breakthrough album. After their shocking win at the Grammys a few weeks earlier, this Dixie Chicks victory wasn’t quite as surprising.
Garth Brooks, Sevens
Patty Loveless, Long Stretch of Lonesome
Tim McGraw, Everywhere
George Strait, Carrying Your Love With Me
Shania Twain, Come On Over
Strait’s third victory in this category tied him with Alabama for most wins. It was also his first album to top the overall Billboard 200, a feat he’s repeated with three additional albums.
Brooks & Dunn, Borderline
Tracy Lawrence, Time Marches On
Patty Loveless, The Trouble With the Truth
LeAnn Rimes, Blue
George Strait, Blue Clear Sky
Strait’s victory came with an album that featured the #1 hits “Blue Clear Sky” and “Carried Away”, along with the rodeo-themed “I Can Still Make Cheyenne.”
Brooks & Dunn, Waitin’ On Sundown
Patty Loveless, When Fallen Angels Fly
Tim McGraw, All I Want
George Strait, Lead On
Shania Twain, The Woman in Me
Although Loveless won the CMA award the previous fall, the ACM sided with the Grammy winner for Best Country Album, Shania Twain’s landmark set, The Woman in Me.
Garth Brooks, In Pieces
Mary Chapin Carpenter, Stones in the Road
Vince Gill, When Love Finds You
Alan Jackson, Who I Am
Tim McGraw, Not a Moment Too Soon
McGraw’s only victory in this category came with his first nomination. This set remains his top-selling to date, thanks to the presence of the massive hits “Don’t Take the Girl”, “Indian Outlaw”, “Down on the Farm”, and the title track.
Brooks & Dunn, Hard Workin’ Man
Billy Ray Cyrus, It Won’t Be the Last
Vince Gill, I Still Believe In You
Alan Jackson, A Lot About Livin’ (And a Little ‘Bout Love)
Various Artists, Common Thread: The Songs of the Eagles
Dwight Yoakam, This Time
Alan Jackson picked up his second victory in this category with an album that included “Chattahoochee”, which would remain his biggest hit for nearly a decade.
Garth Brooks, The Chase
Brooks & Dunn, Brand New Man
Mary Chapin Carpenter, Come On Come On
Billy Ray Cyrus, Some Gave All
These are some big selling albums. Wynonna and Mary Chapin Carpenter both sold five million and they are tied for last place among the nominees. It’s easy to forget how fresh the Brooks & Dunn sound was when it first arrived on the scene. Five hits, including the classic title track, “Neon Moon”, and “Boot Scootin’ Boogie”, helped power them to a win.
Garth Brooks, No Fences
Garth Brooks, Ropin’ the Wind
Alan Jackson, Don’t Rock the Jukebox
Ricky Van Shelton, Backroads
Travis Tritt, It’s All About to Change
In perhaps the most bizarre moment in this category’s history, Garth Brooks competed again with No Fences, which won the same award last year. Alan Jackson emerged victorious with his sophomore set.
Alabama, Pass it On Down
Garth Brooks, No Fences
Vince Gill, When I Call Your Name
Alan Jackson, Here in the Real World
Ricky Van Shelton, RVS III
No Fences includes the Garth Brooks classics “Friends in Low Places”, “Unanswered Prayers”, and “The Thunder Rolls”. It remains his highest-selling album to date, and second only to Shania Twain’s Come On Over among all single-disc country albums in history.
Clint Black, Killin’ Time
Rodney Crowell, Diamonds and Dirt
Kathy Mattea, Willow in the Wind
Nitty Gritty Dirt Band, Will the Circle Be Unbroken? Vol. II
Randy Travis, Old 8×10
The winning album demonstrates why Clint Black was the head of the Class of ’89, even though he’d soon be overshadowed by fellow newbie Garth Brooks.
Vern Gosdin, Chiseled in Stone
K.T. Oslin, This Woman
Ricky Van Shelton, Loving Proof
George Strait, If You Ain’t Lovin’ You Ain’t Livin’
Dwight Yoakam, Buenos Noches From a Lonely Room
K.T. Oslin dominated the awards circuit in 1988 and 1989, with her final victories coming at the ACM Awards. Her Album of the Year winner included the #1 hit “Hold Me”, along with the top five hits “Hey Bobby” and the title track.
The Judds, Heart Land
Dolly Parton, Linda Ronstadt, and Emmylou Harris, Trio
George Strait, Ocean Front Property
Randy Travis, Always and Forever
Hank Williams Jr., Born to Boogie
The classic project by legends Dolly Parton, Linda Ronstadt, and Emmylou Harris also won a CMA for Vocal Event and a Grammy for Best Country Performance by a Duo or Group with Vocals.
The Judds, Rockin’ With the Rhythm
Ricky Skaggs, Live in London
George Strait, 7
Randy Travis, Storms of Life
Dwight Yoakam, Guitars, Cadillacs, Etc., Etc.
The neo-traditionalist movement at its peak, with a win by its standard-bearing artist with his standard-bearing debut album.
Alabama, 40 Hour Week
Waylon Jennings, Willie Nelson, Johnny Cash, and Kris Kristofferson, Highwayman
The Judds, Why Not Me
George Strait, Does Fort Worth Ever Cross Your Mind
Hank Williams Jr., Five-O
The only #1 hit from this album was the title track, but “The Fireman” and “The Cowboy Rides Away” have since become signature songs for the legendary artist.
Alabama, Roll On
Earl Thomas Conley, Don’t Make it Easy On Me
Ricky Skaggs, Don’t Cheat in Our Hometown
George Strait, Right or Wrong
Hank Williams Jr., Man of Steel
Their third victory in four years came on the strength of the hits “Roll On (Eighteen Wheeler)”, “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)”, “(There’s a) Fire in the Night”, and “When We Make Love.”
Alabama, The Closer You Get…
John Anderson, Wild & Blue
Merle Haggard, Going Where the Lonely Go
Merle Haggard & Willie Nelson, Pancho & Lefty
Ricky Skaggs, Highways & Heartaches
Over a field of traditionalists old and new, the pop-country supergroup Alabama won their second Album award. In addition to the hit title track, The Closer You Get… included the hits “Lady Down on Love” and “Dixieland Delight.”
Alabama, Mountain Music
Willie Nelson, Always On My Mind
Kenny Rogers, Love Will Turn You Around
Ricky Skaggs, Waitin’ For the Sun to Shine
Don Williams, Listen to the Radio
Nelson’s biggest single powered the album of the same name to victory. It also included a pair of #2 hits: “Last Thing I Needed First Thing This Morning” and “Let it Be Me.”
Alabama, Feels So Right
Rosanne Cash, Seven Year Ache
George Jones, Still the Same Ole Me
Oak Ridge Boys, Fancy Free
Dolly Parton, 9 to 5 and Odd Jobs
With the exception of George Jones, all the nominees here enjoyed significant pop success with these projects. Alabama won their first trophy in this category with Feels So Right, which included the hit title track, “Old Flame”, and their biggest crossover hit, “Love in the First Degree.”
Charley Pride, There’s a Little Bit of Hank in Me
Kenny Rogers, Greatest Hits
Soundtrack, Coal Miner’s Daughter
Soundtrack, Urban Cowboy
Don Williams, I Believe in You
For all that it’s been maligned, the Urban Cowboy soundtrack does have a lot of classic hits on it. Some of them were recycled, like “Devil Went Down to Georgia” and “Lyin’ Eyes”, but some were introduced on the soundtrack, most notably Anne Murray’s “Could I Have This Dance” and Johnny Lee’s “Lookin’ For Love.”
Larry Gatlin, Straight Ahead
Emmylou Harris, Blue Kentucky Girl
Waylon Jennings, Greatest Hits
Willie Nelson, Willie Sings Kristofferson
Kenny Rogers, Kenny
Those of you wondering how on earth Larry Gatlin was the winner in this field should know that this was actually a platinum-selling album. Perhaps its big hit, “All the Gold in California”, endeared the project to west coast voters.
Ronnie Milsap, It Was Almost Like a Song
Anne Murray, Let’s Keep it That Way
Willie Nelson, Stardust
Oak Ridge Boys, Y’All Come Back Saloon
Kenny Rogers & Dottie West, Every Time Two Fools Collide
They had made several albums as gospel stars, but it was their first big country hit that fueled this win for Album of the Year.
Waylon Jennings, Ol’ Waylon
Dolly Parton, Here You Come Again
Elvis Presley, Moody Blue
Kenny Rogers, Kenny Rogers
Conway Twitty, Greatest Hits Vol. II
This self-titled album was renamed “Lucille” in later pressings to capitalize on its biggest hit.
Mickey Gilley, Gilley’s Smokin’
Waylon Jennings, Willie Nelson, Jessi Colter, and Tompall Glaser, Wanted! The Outlaws
Loretta Lynn, Somebody Somewhere
Marty Robbins, El Paso City
Conway Twitty, Now and Then
Gilley’s winning album features his most well known hit, “Don’t the Girls All Get Prettier at Closing Time.” It’s the most recent album in the category’s history that hasn’t reached at least gold status.
Glen Campbell, Rhinestone Cowboy
Freddie Fender, Before the Next Teardrop Falls
Merle Haggard, Keep Movin’ On
Loretta Lynn & Conway Twitty, Feelins’
Willie Nelson, Red Headed Stranger
This shared award is the only Album trophy that either Lynn or Twitty won from the ACM or CMA, though Lynn did go on to win Best Country Album three decades later at the Grammys.
John Denver, Back Home Again
Merle Haggard, Merle Haggard Presents His 30th Album
Loretta Lynn, They Don’t Make ‘Em Like My Daddy
Cal Smith, Country Bumpkin
Bob Wills, For the Last Time
Denver’s biggest country album, it spent thirteen weeks atop the country album chart. The title track topped the chart, and “Annie’s Song” became a wedding standard.
Merle Haggard, I Love Dixie Blues…so I Recorded “Live” in New Orleans
Loretta Lynn, Love is the Foundation
Charlie Rich, Behind Closed Doors
Johnny Rodriguez, Introducing Johnny Rodriguez
Conway Twitty & Loretta Lynn, Louisiana Woman, Mississippi Man
Rich’s classic set has sold four million copies, an unheard of tally for a country album from this time period. It didn’t hurt that the title track and “The Most Beautiful Girl” were crossover hits, with the latter actually topping the pop singles chart.
Mac Davis, Baby Don’t Get Hooked On Me
Donna Fargo, The Happiest Girl in the Whole U.S.A.
Merle Haggard, The Best of the Best of Merle Haggard
Merle Haggard, It’s Not Love (But It’s Not Bad)
Merle Haggard, Let Me Tell You About a Song
Freddie Hart, Bless Your Heart
Donna Fargo triumphed in a field of six albums, half of which were recorded by Merle Haggard! The Fargo set produced two million-selling singles – the title track and “Funny Face”.
Merle Haggard, Hag
Merle Haggard, Someday We’ll Look Back
Freddie Hart, Easy Loving
Ray Price, I Won’t Mention it Again
Charley Pride, Charley Pride Sings Heart Songs
The title track was a massive hit, helping Hart’s Easy Loving reach gold status and spend nine weeks atop the country albums chart.
Glen Campbell, The Glen Campbell Goodtime Album
Merle Haggard, The Fightin’ Side of Me
Merle Haggard, A Tribute to the Best Damn Fiddle Player in the World (or, My Salute to Bob Wills)
Ray Price, For the Good Times
Charley Pride, Charley Pride’s 10th Album
Who knows how many times Haggard could’ve won this award if he wasn’t nominated against himself? This year, Ray Price’s For the Good Times was the victor, thanks to the Kristofferson-penned title track.
Glen Campbell, Live
Johnny Cash, At Folsom Prison
Merle Haggard, Okie From Muskogee
Charley Pride, Best of Charley Pride
Tammy Wynette, Greatest Hits
Haggard’s only victory in this category was for a live album. Incidentally, he won over two other live albums and a pair of greatest hits sets.
1994 Written by Matraca Berg, Suzy Bogguss, and Gary Harrison
There’s a term that has gathered strength over the past decade: the quarter-life crisis. It describes that phase in life where the idealism of what you thought your life would be collides with what reality has in store for you. Reconciling the two is needed to get beyond this point of life, and adulthood completely sets in once such reconciliation has been accomplished.
A significant difference between the major female artists of the early nineties and those of today is that they’re on opposite sides of that quarter-life marker. Take at the ages in which today’s newer female stars enjoyed their first top twenty hit: Carrie Underwood, 22; Miranda Lambert, 22; Kellie Pickler, 20; Taylor Swift, 17.
Now compare that to the women who broke through from 1989-1992: Suzy Bogguss, 34; Pam Tillis, 33; Mary Chapin Carpenter, 31; Wynonna, 27; Trisha Yearwood, 26. Unlike today, there were also several additional female artists who were also on the radio – Reba McEntire, Kathy Mattea, Patty Loveless, and Tanya Tucker – all of whom were in their thirties.
“Age ain’t nothin’ but a number,” Aaliyah once sang, but the musical output of these two crops of artists suggest otherwise. “Hey Cinderella” was a top five hit for Bogguss in 1994, and perhaps best exemplifies the different perspectives of these two generations of women.
“We believed in fairy tales that day,” Bogguss sings as she reminisces with her friend about the day her friend got married. “I watched your father give you away. Your aim was true when the pink bouquet fell right into my hands.” It sounds like the beginning of the latest Taylor Swift song, perhaps a duet with Kellie Pickler.
But as life goes on, “through the years, and the kids, and the jobs, and the dreams that lost their way,” these grown women are wondering about those fairy tales. “I’ve got a funny feeling we missed a page or two somehow”, and find themselves wanting to question the legendary princess: “Cinderella, maybe you can help us out?” they ask. “Does the shoe fit you now?”
While the perspective of youth is honestly preserved, these are clear-eyed adults with a wealth of life experiences informing their feelings today. It doesn’t get more honest than the line “We’re good now ’cause we have to be.” It’s not so much we grow up because we want to, but rather because we have to.
I’ve written many times that I don’t find Taylor Swift’s music offensive so much as irrelevant. When I was a teenager, I could listen to country music and not fully understand the intricacies of what the songs were about, but I knew I’d eventually grow into an understanding. Over the past fifteen years, I’ve done just that. What I can’t do is regress back into the state of development needed to find Taylor Swift’s music relevant to me.
Honestly, I don’t think that the world looked like what’s described in “You Belong With Me” and “Love Story” at any period of my life. I’ve just never known girls who saw the world that way. The ones I knew have grown up to be women quite a bit like those that Bogguss and her contemporaries sang about. Here’s hoping that this generation is able to do the same. In the meantime, if you like country music by and for adults, this forgotten hit is a great starting point.
Last year, I counted down my twenty-five favorite Christmas songs. This year, it’s time to do the same with my favorite country Christmas albums. Feel free to add your own favorites in the comment section.
SHeDaisy, Brand New Year
This is not a typical, conservative country Christmas album. SHeDaisy spices things up by not only including originals, but rearranges the classics to make an unpredictable, unique Christmas album that stands out from the pack.
Dolly Parton, Home for Christmas
This is an incredibly cheesy Christmas album. As only Dolly can do, however, it’s at least delightfully cheesy.
Charlie Daniels & Friends, Joy To the World: A Bluegrass Christmas
This album flew under the radar this year, but it’s a wonderful bluegrass album with a few famous friends. Daniels even steps aside to allow his guests to sing while only accompanying them. Jewel steps up with an impressively country vocal on “Blue Christmas” and Kathy Mattea offers a rollicking version of “Oh Come All Ye Faithful.”
John Denver and the Muppets, Christmas Together
I grew up with this album. On the strength of nostalgia, I’d put it at the top of this list, but for the sake of being reasonable, I’ll settle for this ranking. Who doesn’t love the Muppets, anyway?
John Cowan, Comfort and Joy
John Cowan’s Comfort and Joy is a new release, but its acoustic production and Cowan’s clear voice is instantly appealing. He interprets some classics, but also includes some worthy originals and lesser-known songs. The sprightly “Christmas Everyday”, the thoughtful “Little Match Girl” and the gospel “Good News” provide welcome depth to this Christmas project.
Mindy Smith, My Holiday
Mindy Smith adeptly covers well-known standards on her Christmas album, but her original inclusions are what really stand out here, particularly “Follow the Shepherd Home” and “I Know the Reason.” With guest appearances from Alison Krauss, Thad Cockrell and Emmylou Harris (not to mention Smith’s own beautiful voice), My Holiday is one of the most outstanding mixes of originality and tradition on this list.
Loretta Lynn, Best of Christmas…Twentieth Century Masters
This is a collection of Loretta Lynn Christmas songs. It’s my favorite traditional country Christmas album.
Emmylou Harris, Light of the Stable
If you enjoy Harris’ bluegrass album, Roses in the Snow, and her Live At the Ryman, you’ll likely enjoy this acoustic-based Christmas album as well. It has a live, relaxed feel to it. While it doesn’t necessarily sound big-budget, it is still a well-crafted Christmas album.
The Tractors, Have Yourself A Tractors Christmas
The Tractors are infamous for their cringe-worthy novelty song, “Baby Likes To Rock It”, but they made an excellent Christmas album nonetheless. Their blend of swing and shuffle makes for a crisp album that I love to hear every year. I enjoy the entire album with the exception of their Christmas twist on “Baby Likes to Rock It.”
Lee Ann Womack, A Season for Romance
Lee Ann Womack is successful in conveying a romantic vibe on this album that suggests just that. With her easy southern drawl, Womack knows her way around a gorgeous Christmas melody. Her fun side should not be ignored, however, as her version of “the Man with the Bag” is easily the superior track on the album.
Travis Tritt, A Travis Tritt Christmas: Loving Time of the Year
Tritt rocks on songs like “Winter Wonderland”, adds a bluesy twist to “Have Yourself a Merry Little Christmas”, waxes nostalgic on “Christmas in My Hometown” and reverently sings “O Little Town of Bethlehem” and “I Heard the Bells on Christmas Day.” Nevertheless, he keeps Christmas in perspective as he philosophizes on the title track and, possibly naively, proclaims it to be the “most loving time of the year.”: “I wish I could bottle up this feeling/Pass out a little everyday/’Cause all the scars of pain have started healing/And troubles of this world just fade away…”
Dwight Yoakam, Come on Christmas
Dwight’s signature quirky vocal style does not disappoint on this Christmas album. He does some standards and a few originals. His bluesy version of “I’ll Be Home For Christmas” just may be the only version of that song that I like. Among the originals, the dysfunctional “Santa Can’t Stay” and the album’s sensual title track are the highlights of the project.
Gene Autry, Rudolph the Red Nosed Reindeer and Other Christmas Classics
Like Bing Crosby, Gene Autry’s name is simply synonymous with Christmas music.
John Prine, A John Prine Christmas
Prine’s rough, unpolished voice does not try to navigate beloved classics that conjure up feelings of warmth and frivolity. Instead, he does what works best for him, which means writing songs that reveal insightful observations of real life. As a result, A John Prine Christmas is darker than a typical Christmas album.
Alan Jackson, Let It Be Christmas
While Alan Jackson’s first Honky Tonk Christmas album is great, this one was recorded to appease his mother who requested a more traditional-sounding record. This one is especially good when hosting guests with mixed music tastes. Backed by a big band and orchestra, Jackson’s smooth voice navigates these traditional tunes with ease. Jackson’s original composition, the title track, is superb enough to stand with the revered classics.
Martina McBride, White Christmas
Martina McBride made a safe Christmas album with all familiar songs, but she still managed to deliver an album that’s engaging and among the best of its kind. And as one might expect from McBride, she knocks “O Holy Night” out of the park.
Toby Keith, A Classic Christmas
Toby Keith shows his generosity at Christmas time by making two Christmas albums (one of religious classics and the other of secular classics) and packaging them together for one low price. As a skillful interpreter, he treats these classics with both reference and fun as appropriate, with “Little Drummer Boy” receiving the coolest laid back production that I’ve ever heard on it.
Lorrie Morgan, Merry Christmas from London
With the London Orchestra, Morgan is in fine voice and keeps up with the power accompaniment quite well. This is a beautiful, straightforward album that includes many classics and a sweeping version of “My Favorite Things.”
Randy Travis, An Old Time Christmas
This Christmas album is exactly what one would expect from Randy Travis. If you like Randy Travis music and you like Christmas music, this one doesn’t disappoint. Highlights include his version of “God Rest Ye Merry Gentlemen”, Meet Me Under The mistletoe” and “Old Time Christmas.”
Kathy Mattea, Joy for Christmas Day
Kathy’s warm, soothing voice is meant for Christmas songs. She sings some standards along with some awesome originals. The stand out tracks are the gorgeous “Straw Against The Chill” and the infectious “Unto Us A Child Is Born.”
Garth Brooks, Beyond the Season
Garth’s first and best Christmas album sounds a lot like Garth Brooks music of the early nineties. Even the classics get the Brooks treatment, including a soulful version of “Go Tell It On A Mountain.” The highlights include but aren’t limited to “The Friendly Beasts” (in which he enlists the help of some of his songwriting friends), “Unto You This Night” and Buck Owens’ “Santa Looked A Lot Like Daddy.”
George Strait, A Classic Christmas
Strait has as many Christmas albums as he has decades in the country music business. This album is far superior to the other two, however. While all of the songs are classics, he has recorded them with rootsy productions to match his warm vocals. Highlights include “Jingle Bells”, “Oh Come All Ye Faithful” and “Oh Christmas Tree.”
Clint Black, Christmas With You
This album consists of all original songs composed by Clint Black himself. Most of it contains Christmas through the eyes of children, including “Slow As Christmas”, “Milk and Cookies” and “The Coolest Pair.” It’s fresh, fun and joyous, just as Christmas should be.
Patty Loveless, Bluegrass And White Snow: A Mountain Christmas
As a follow up to Mountain Soul, Patty Loveless delivers a soulful bluegrass Christmas album that radiates Christmas warmth while injecting moments of festive frivolity as well. Appearances by Vince Gill, Emmylou Harris, Rebecca Lynn Howard and Jon Randall are not necessary to strengthen this already masterful Christmas album, but they certainly help the celebration in a special way. (For more on this album, read a review by guest contributor Stephen Fales.)
Pam Tillis, Just in Time for Christmas
Most of the time, I want to hear warmth on a Christmas album. As is the case with many of my favorites, I like to be able to imagine listening to Christmas music by a cozy fire (though I don’t have a fireplace) and a nice mug of hot chocolate. With Tillis’ album, my imagination does not have to stretch very far, because it commands such images with its tasteful, jazzy production and Tillis’ naturally pleasant voice. This is clearly a country Christmas album, but it also manages to blend country elements with other traditional components that result in a perfect hybrid of torch and twang.
As we come to the end of our list, the top ten selections are a lot like the ninety before them, with perhaps a bit more of a roots leaning overall. If you didn’t see your favorite on the list, or just want to discover more great music that you might have missed, be sure to check out the list at The 9513, if you somehow haven’t done so already. Even better, start a blog and write your own list. It feels like a lot of barriers fell within country music this decade, and I think one of the best walls to come down was the one between music journalism and the listening audience. I hope in the next decade, a lot more readers become writers, so we can all keep reveling in the music we love and helping others discover it.
Sappy introduction aside, here’s our top ten of the decade:
Patty Loveless, Mountain Soul
Imitation is the sincerest form of flattery, and few albums have inspired more imitation than Patty Loveless’ Mountain Soul. Bluegrass music full of roots influences, Mountain Soul, with its traditional sound, has become a surrogate definition of authenticity for mainstream artists returning to their musical beginnings. Standout songs include “Cheap Whiskey,” a classically dark drinking song; the energetic “The Boys are Back in Town,” with its WWII imagery; and “Soul of Constant Sorrow,” based on the traditional work popularized by the Stanley Brothers. – William Ward
Recommended Tracks: “The Boys are Back in Town”, “Cheap Whiskey”, “Soul of Constant Sorrow”, “You’ll Never Leave Harlan Alive”
Vince Gill, These Days
An inordinate amount of praise has already been heaped upon Vince Gill’s prolific, 2006 landmark 4-disc box set of all original material. Moreover, all of the praise is warranted. Not only is all of the material original rather than culled from previous albums; Gill had a hand in writing each of the 43 tracks. Each disc is divided into its own genre (rock, jazz, bluegrass/acoustic and straight-up country). Furthermore, each disc is masterfully executed. Fortunately, These Days does not prove the old “less is more” adage. Instead, it only leaves us longing for more. – Leeann Ward
Recommended Tracks: “Sweet Thing”, “Faint of Heart (with Diana Krall)”, “Little Brother”, “Some Things Never Change (featuring Emmylou Harris)
Loretta Lynn, Van Lear Rose
She had already made a fine latter-day album with 2000′s Still Country, but Loretta Lynn’s crowning artistic moment of the last thirty years came when rocker Jack White offered to turn his semi-fetishization of Lynn’s music and persona into a full LP. As you’d expect of a project born of such fanboy fantasy, White was not shy about dressing up Loretta in his favorite things – in this case, snaky electric guitars and loose, often atmospheric arrangements that made the Kentucky gal sound more raw, Gothic and edgy than she ever had in her bouncy classic singles. But White also had the good sense not to let his little indulgences distract from the fantastic artist on his hands, who wrote herself a batch of sharp, soulful songs that capture the essence of what truly makes real country music – and Lynn herself – rock so hard. – Dan Milliken
Recommended Tracks: “Portland, Oregon”, “Trouble On the Line”, “Family Tree”, “Miss Being Mrs.”
Johnny Cash, American III: Solitary Man
It’s astounding how some artists can convey as much meaning through voice as they can through lyric. Cash performs covers and original material alike so affectingly on this Grammy-award winning album that you feel like you can reach out and touch what you’re hearing. It’s a stunningly haunting, uniquely introspective project, carried by the strength of Cash’s wisdom and transcendent voice. – Tara Seetharam
Recommended Tracks: “Before My Time”, “I’m Leaving Now”, “Solitary Man”, “I See a Darkness”
Old Crow Medicine Show, Old Crow Medicine Show
Old Crow Medicine Show’s first and best progressive acoustic album is difficult to label as far as genre is concerned. However, what can be defined is that there are elements of bluegrass, country, folk, etc., which all culminate in a mighty fine debut effort from a band that has developed an impressive cult following as a result. With overt drug references, subtler (though still obvious) political undertones, quiet philosophical moments and some simply fun numbers, this album never gets tiresome, which is a testament to its long lasting substance as a whole. – LW
Recommended Tracks: “Tell It to Me”, “Big Time in the Jungle”, “Wagon Wheel”
Kathy Mattea, Coal
Kathy Mattea’s Coal is a near-perfect example of an album acting as a single piece of art. More than a collection of mining songs, Coal, co-produced by Marty Stuart, is a brutal and beautiful look at a way of life that is both challenging and enlightening. Notable tracks include “Dark as a Dungeon,” delivered with meticulous but even intensity; the haunting “Red-Winged Blackbird,” with its blood and coal color imagery; and the a cappella “Black Lung,” an impressive choice in which Mattea successfully pushes the boundaries of her musical abilities. – WW
Recommended Tracks: “Blue Diamond Mines”, “Red-Winged Blackbird”, “Sally in the Garden”, “Dark as a Dungeon”
Miranda Lambert, Crazy Ex-Girlfriend
Call it potential realized: Crazy Ex-Girlfriend is the album we all knew Lambert could make, and waited on the tips of our toes to hear. Her follow-up to Kerosene is a rich, defiant album that conveys a sharp perspective and a clear musical identity. Amidst a spunky blend of twang and rock, she draws from a more incisive set of songwriting skills and packs a hell of a believable punch, like on her first top ten hit, “Gunpowder & Lead.” And the punch isn’t reserved for the fiery numbers, as the album’s most gripping track comes in the form of pure tenderness. The wistful lament “More Like Her” is one of the best and most heartbreaking songs of this decade. – TS
Recommended Tracks: “Famous in a Small Town”, “More Like Her”, “Dry Town”, “Love Letters”
Gary Allan, Tough All Over
A rough, scattered, imperfect and wholly realistic 12-track grieving process. By the time of the tragic personal events leading to this album, Allan had already proven he could interpret a song better than just about anyone working in the genre; on Tough All Over, he took on the unimaginable task of interpreting his own battered emotional core. The results are striking, as he confronts not just his inevitable loneliness (“Best I Ever Had”, “Ring”, “Puttin’ Memories Away”), but also less tidy trackings of guilt (“I Just Got Back From Hell”), self-loathing (“What Kind of Fool”), spite (the title track), and reluctant hope (“Nickajack Cave [Johnny Cash's Redemption]“, “Life Ain’t Always Beautiful”). Country music and Allan himself have produced several more beautiful albums this past decade, but none that sounded quite so necessary. – DM
Recommended Tracks: “Tough All Over”, “I Just Got Back From Hell”, “Ring”, “Life Ain’t Always Beautiful”
The fact that neither Kasey Chambers nor Shane Nicholson make particularly traditional-sounding music on their own makes it all the more incredible that they have joined together to create one of the rootsiest records on this list. Aside from the intriguing, though processed “Jackson Hole”, the songs on Rattlin’ Bones sound more like beloved classics than the original Chambers and Nicholson compositions that they actually are. The naturally compatible husband-wife pairing has created an album full of crisp, majestic harmonies, distinctive melodies and intriguing lyrics, easily making this album one of the most sonically pleasing and substantive albums of the decade. – LW
Recommended Tracks: “Rattlin’ Bones”, “Monkey on A Wire”, “One More Year”, “No One Hurts Up Here”
Dixie Chicks, Home
This was our top selection by such a wide margin that it’s tempting to just say, “Of course it’s the greatest album of the decade. It’s Home.” But one sentence does not a justification for best album of the decade make, so let me go on to say that Home is conclusive proof that a modern country album can tear down the walls between radio-friendly and artistic, mainstream and Americana, pure country and crossover, revealing that while they looked like stone, they were paper walls all along.
It was a hint of further greatness to come that the Chicks were able to pen some of their own material and have it stand proudly among the very best works of brilliant songwriters, and the album became a classic because the songs really are the best ever written by Darrell Scott (“Long Time Gone”), Stevie Nicks (“Landslide”), Bruce Robison (“Travelin’ Soldier”), Radney Foster, (“Godspeed [Sweet Dreams]), and Patty Griffin (“Truth No. 2 and “Top of the World”). But with the acoustic production and their decision to record three-part harmonies for the first time, the result is nothing short of a masterpiece.
Despite the formula being so simple – great songs + great vocals + great production = great album – Home is a reminder of just how difficult that formula is to pull off. Released back in 2002, no country album has come along since to match its quality. – KC
Recommended Tracks: “Long Time Gone”, “Truth No. 2″, “Godspeed (Sweet Dreams)”, “Top of the World”
Kathy Mattea has rarely sounded more open and warm than on this set of innovative folk-tinged songs. Topics of peace, love, resignation and heartache are sensitively explored in songs both written by Mattea and other well-known names, including captivating interpretations of The Rolling Stones’ “Gimme Me Shelter” and Creedence Clearwater Revival’s “Down on the Corner.” It’s a rich album with a decisively vibrant feel. – Leeann Ward
Recommended Tracks: “Gimme Shelter”, “Down on the Corner”, “Give It Away”
Johnny Cash, American IV: The Man Comes Around
American IV: The Man Comes Around was the last Cash album released in his lifetime; the bulk of its tracks are covers performed by the then ailing singer. Amazingly enough, the album seems almost biographical despite the limited material written by Cash. Still, American IV is not limited to “Hurt” (written by Trent Reznor of Nine Inch Nails), as other well-interpreted covers and Cash’s own “The Man Comes Around” help cement the depth of the album. – William Ward
Recommended Tracks: “The Man Comes Around”, “Hurt”, “Sam Hall”
Jamey Johnson, That Lonesome Song
The media hype machine had a field day with Johnson’s breakthrough sophomore album, showering it with the kind of superlatives usually reserved for miracle cures and immaculate conceptions (see also: Crazy Ex-Girlfriend). Most of the attention went to the album’s counterculturism within the increasingly safe and watered-down Music Row, with numerous nods to its Outlaw aesthetic and “cocaine and a whore” business. But That Lonesome Song‘s greatness was always more than contextual, and certainly more than attitudinal; this is an album with a genuine story to tell, filled with a slow-burning sorrow that pervades every track and doesn’t rest until the wife finally walks away and the husband resigns himself to playing seedy bars and trying to convince you he’s worthy of comparison to the greats. – Dan Milliken
Recommended Tracks: “High Cost Of Living”, “Angel”, “Dreaming My Dreams With You”
For all of the attention given to her power ballads and catchy pop numbers, Faith Hill has always included more offbeat material from lesser known songwriters. This album had some great power ballads and catchy pop numbers, but its heart and soul comes from the trio of Lori McKenna songs that make up its core. “Stealing Kisses” just might be Hill’s finest moment to date, and the other two McKenna songs – “If You Ask” and the title track – are nearly as good. – Kevin Coyne
Recommended Tracks: “Dearly Beloved”, “Stealing Kisses”, “Wish For You”
Vince Gill, Next Big Thing
Gill dips into a wider range of styles and subjects on his first self-produced album, but it all seems to thoughtfully tie back to his classically sweet sound – a tricky thing to do in country music. Next Big Thing is mature, clever and vocally spot-on, and features some killer guest vocals from Emmylou Harris, Lee Ann Womack and others. – TS
Easily one of the most versatile artists in country music, Underwood is capable of tackling almost any musical style, and she makes a solid case for this on her third album. The kicker, though, is that rather than signaling a lack of identity, each style feels like a natural extension of herself as an artist. She’s mournful on a haunting country standard in one breath, and commanding on a rock-charged up-tempo in the next – all without compromising her authenticity. Most significantly, Underwood finally digs a little deeper on Play On, marrying her extraordinary vocal proficiency with a higher level of tangible, sincere conviction than ever before. – TS
Recommended Tracks: “Someday When I Stop Loving You”, “Songs Like This”, “What Can I Say”
Rodney Crowell, The Outsider
Crowell’s take on mid-decade politics avoids heavy-handedness, perhaps because what he’s appealing to is not so much partisanship as patriotism in its purest form: “Democracy won’t work if we’re asleep. That kind of freedom is a vigil you must keep.” Bonus points for not one, but two guest turns from Emmylou Harris, the highlight being their stunning duet of Bob Dylan’s “Shelter From the Storm.” – KC
Recommended Tracks: “Dancin’ Circles ‘Round the Sun (Epictetus Speaks)”, “Don’t Get Me Started”, “Shelter From the Storm”
The Little Willies, The Little Willies
Norah Jones pet country side project with four of her New York City friends, including former boyfriend bassist Lee Alexander, results inn an inextricably fun album named after Willie Nelson who is covered twice on the project (“Gotta Get Drunk” and “Night Life”). The productions, including jaunty piano and prominent bass, along with Jones’ atypically loose vocals, make this disc a thrilling listening experience. While The Little Willie’s self titled album is not tight in technical terms, the album is all the better for it. – LW
Recommended Tracks: “Roll On”, “Gotta Get Drunk”, “Tennessee Stud”
Trisha Yearwood, Real Live Woman
Upon its release, the artist declared that she’d finally made her dream album. It’s easy to understand why, as Real Live Woman is Trisha Yearwood’s most cohesive album to date. It has a warmth and depth that makes it more than just reminiscent of Linda Ronstadt’s classic L.A. country albums from the mid-seventies. It’s actually on par with them. – KC
Recommended Tracks: “Where Are You Now”, “Try Me Again”, “When a Love Song Sings the Blues”
Kris Kristofferson, Broken Freedom Song: Live From San Francisco
For each unequivocal success like At Folsom Prison and Nirvana Unplugged, there are a dozen uninspired live albums that simply exist to capitalize on old material. Kris Kristofferson’s Broken Freedom Songs, with his extended introductions and banter, is an unequivocal success. Along with its friendly and almost conversational tone, Broken Freedom Songs focuses on unexpected compositions and makes a nice addition to other historically strong live albums. – WW
Recommended Tracks: “The Circle”, “Here Comes that Rainbow Again”, “Moment of Forever”
Country Universe contributor and reader Cory DeStein flagged this rundown from Billboard regarding women on the charts this decade:
PERFECT 10: On Country Songs, Carrie Underwood ropes her 10th top 10, as “Cowboy Casanova” climbs 11-8. With the advance, Underwood now stands alone in first-place for most top 10s on the chart among solo women this decade.
Here are the solo females with the most top 10s on Country Songs since 2000:
10, Carrie Underwood
9, Faith Hill
9, Martina McBride
8, Taylor Swift
7, Sara Evans
7, Reba McEntire
6, Jo Dee Messina
5, LeAnn Rimes
5, Gretchen Wilson
4, Shania Twain
Notably, the artist who led the category among women last decade did so with almost three times as many top 10s. Reba McEntire ranked first among solo women in the ’90s with 27 top 10s on Country Songs. Trisha Yearwood placed second with 18 between 1990 and 1999, and Faith Hill, Patty Loveless and Tanya Tucker each posted 14 in that span.
The decline in fortune for women at radio this decade is even more pronounced when you compare the above top ten to the previous decade:
Most Top Ten Singles by a Female Artist – 1990-1999:
Reba McEntire (27)
Trisha Yearwood (18)
Faith Hill (14)
Patty Loveless (14)
Tanya Tucker (14)
Pam Tillis (13)
Lorrie Morgan (12)
Shania Twain (12)
Martina McBride (10)
That’s ten women who matched Underwood’s total for this decade. That Underwood didn’t even hit the top ten for the first time until late 2005 shows how bleak it was at radio for female artists this year.
But this comparison doesn’t even tell the whole story. Take a look at the list of women with the most top ten singles two decades ago:
Most Top Ten Singles by a Female Artist – 1980-1989:
Reba McEntire (23)
Crystal Gayle (22)
Dolly Parton (21)
Janie Fricke (17)
Barbara Mandrell (17)
Rosanne Cash (16)
Emmylou Harris (16)
Anne Murray (14)
Tanya Tucker (12)
Kathy Mattea (10)
Notice the trend? This decade, the top ten women combined for a total of 70 top ten hits. In the 90′s, the top ten women enjoyed a total of 145 top ten hits. In the eighties, a total of 168 top ten hits. Even the nineties list is dominated by women who were played heavily in the earlier part of the decade.
What’s strange is that it was in the mid-nineties that female artists became the dominant commercial force in country music. Janie Fricke never had a gold album. Shania Twain has sold 48 million albums. Yet Fricke had more top ten hits in just the eighties than Shania Twain has earned in her entire career. Record buyers have wholeheartedly embraced Alison Krauss and Miranda Lambert, but despite their strong sales, they’ve each enjoyed only one solo top ten hit.
So what to make of all of this? Is the recent success of Taylor Swift and Carrie Underwood an indication that things are improving for women on the radio dial? Is it worth noting that Sugarland and Jennifer Nettles (11 top ten hits) and the Dixie Chicks (14 top ten hits) have done their part to compensate for this lack of gender parity? Does it even matter that radio is playing women less often each decade, especially if record buyers are finding their music anyway?
It’s time for another iPod (or any other music player) check. Last time, I asked you to put your music device on shuffle and then tell us the first ten songs that you would recommend. This time, I want you to do the same thing, but then jot down your initial thoughts on the songs as your ten recommended songs play. Then share your informal thoughts in the comments.
I’ll play along too, but I’ll spare you the Christmas songs that will inevitably come up in my shuffle, which I’d heartily recommend if I wasn’t keenly aware that it’s still only September.
John Anderson, “I’d Love You Again”
Nice, sweet song from the rough voice guy who’s still able to sing a tender song with the best of them.
Todd Snider, “Alright Guy”
I love how Snider really seems to be pondering this question: “I’m an alright guy? Right? Right?”
Ashley Monroe, “Can’t Let Go”
Peppy…reminds me of a Garth Brooks type song.
Patty Loveless, “What’s A Broken Heart”
Melancholy…something Patty Loveless does the best.
Rodney Crowell, “Earthbound”
A celebration of life that doesn’t happen to be sappy.
Kathy Mattea, “Junkyard”
I can relate to this song. My motto has always been “Life’s depressing enough. Why would I want to watch things that would only contribute to the darkness?” That’s why I don’t watch dark films, though it so happens that I don’t have the same philosophy about music.
The Judds, “Flies on the Butter (You Can’t Go Home Again)”
There’s just something wistful about this song. Obviously, the theme, but also how it’s performed. Perhaps I’m just imagining it, because I’m wistfully wishing there was a duo on radio like The Judds today…probably why I love Joey + Rory
Trent Summar and the New Row Mob, “Louisville Nashville Line”
It’s just imperative to turn Trent Summar and the New Row Mob up when they come up on the iPod.
Vince Gill, “Don’t Pretend with Me”
I really like the guitar on this song. It’s cool. In reality, this whole box set is awesome.
The following is a guest contribution from frequent commenter and devoted Patty Loveless fan, Stephen Fales, who is better known to Country Universe readers as Steve from Boston.
Country Universe is a site where timeless artists like Patty Loveless are not merely acknowledged, but embraced and celebrated. So when Leeann invited me to review my favorite artist’s Brownfield Maine concert as a guest contributor, I jumped at the chance. Thank you so much Leeann, Kevin and Country Universe for giving me this opportunity. And Leeann and Bill, it was a joy and an honor to join you folks for dinner and watch the concert with you. You both made this already memorable concert experience even more unforgettable for me, along with patty-loveless.net associates Nicole, Richard and Patti, and the following day Bob and Barbara, Kevin. And also, Marcia Ramirez from Patty’s band. Many, many thanks to all.
Patty Loveless at the Stone Mountain Arts Center, Brownfield Maine
July 3, 2009
Nestled in the northern reaches of the Appalachian Mountains, Brownfield Maine’s Stone Mountain Arts Center is a beautiful and intimate 200 seat converted barn turned listening room. It has a warm and rustic ambiance, and a very helpful staff. The wood beam framed building makes for a rich acoustical setting, almost like a giant, wooden resonator box. It is a hard place to find out there in the Maine wilderness, but well worth the effort, especially to enjoy artists and legends like Patty Loveless, Ralph Stanley, Marty Stuart, Suzy Bogguss and Kathy Mattea. Think of it as a quest.
This beautiful mountain setting was a perfect match for Patty Loveless, the celebrated neo-traditional Country artist with the warmly expressive Appalachian alto. The Queen of Mountain Soul seemed right at home in the northernmost reaches of her domain, and seemed to absolutely love the venue.
Patty Loveless is a warmhearted and humble lady, she is a true artist with a good sense of humor and down-to-earth personality, the “anti-diva” as her drummer, Martin Parker, calls her. She takes the stage with very little fanfare, no high tech video introduction or ostentatious stagecraft, no bells, no whistles. She just quietly joins her band and begins to sing. It is all about the music with Loveless, and she lets the music speak for itself.
Still, there was plenty of excitement in the air at Maine’s Stone Mountain Arts Center, but the magic emanated entirely from Patty’s empathetic heart and her crystalline Mountain-bred voice. She sings from a place even deeper than the heart, Patty Loveless sings from the very depths of her Appalachian soul. No smoke or mirrors needed, indeed, they would have been out of their league competing with such natural, God given talent. Patty Loveless sings without a net, and her performance on July 3rd, 2009 was inspired and virtually flawless.
Loveless is the prototypical Country artist. She has refined and perfected her inherent gifts through years of hard work and perseverance, and has become a living link to Country’s Golden age. The artistic (but not the chronological) scope of her work reaches all the way back to the works of the Carter family and Bill Monroe, and forward to the finest modern Country and Bluegrass artists. Folks like Jim Lauderdale who penned two of the 18 songs in Patty’s concert lineup. She is a master interpreter of their work, and a keeper of America’s rich Country and Bluegrass cultural heritage. Patty Loveless is herself, a national treasure.
All that’s good and great about Country music is embodied in the voice of Patty Loveless, and she brings it all to bear on her first rate, soul-nourishing material. Her mentors and musical heroes, her east Kentucky upbringing and authentic Coal-miner’s daughter heritage can be heard in the soulful Mountain timbre of each and every note that she sings.
Her amazing repertoire consists of songs that have been carefully selected over many years by Patty herself and her husband/producer (and genuine musical genius) Emory Gordy Jr. And this they have done with little regard to what is trendy, and with every regard to what is timeless, or potentially so. Patty and Emory choose and write their material with a profound understanding and appreciation of the heritage and traditions of authentic Country and Bluegrass, a heritage she often speaks of with great reverence between her songs. And by following her heart in all of her musical choices, Patty Loveless connects deeply with the hearts of her listeners.
Loveless’ song lineup at SMAC was a mix of real, hard-core Country, and the finest contemporary Country. But the lack of any Mountain/Bluegrass songs that she could have included from her catalog kept this generous sampling from being truly representative of who she is as an artist. Still, a generous lineup of her always high-quality hit songs, and her featured Sleepless Nights mini-set of classic Country covers was fine compensation, and is the stuff of legend in the making.
Patty blazed into her set list with passion and precision, leaving her audience awestruck and breathless. In a very real and literal sense, this was a breathtaking performance from start to finish. At 52, Loveless is still very much an artist on an upward trajectory, and her voice just keeps getting even better with the years.
Some notable highlights: Her heart wrenching rendition of the Jim Lauderdale penned “You Don’t Seem to Miss Me”, for which she won a Vocal Event of the Year award with the legendary George Jones. Loveless has collaborated with some of Country music’s absolute finest male singers, including Jones and Vince Gill, and for live performances she needs a strong male voice to fill the void on a few of those songs. Thankfully, she has found the perfect vocal partner in her band member, Garry Murray, who sang the tricky Jones harmony with feeling and finesse.
“Nothing But the Wheel” is the perfect Country song, by the perfect Country singer. It moves with a forlorn tempo, like the car the protagonist drives away from her heartbreak: ” And 41 goes on and on, and the lights go winding in the dawn, and the sky’s the color now of polished steel…and the only thing I know for sure, is if you don’t want me any-more then I’m holding on to nothing but the wheel.” With Patty Loveless at the wheel, it just doesn’t get any better or more Country.
Patty’s interpretation of the George Jones gem, “If My Heart Had Windows”, is a song of deep gratitude for love gone right, and she sings this slow lover’s waltz with a torch style intensity that warms the heart and burns to the soul.
Patty’s knockout rockabilly rendition of “Why Baby Why” kicks off her Sleepless Nights classics set with high octane energy…Patty describes it as “George Jones meets Tina Turner” But it’s all Patty Loveless…Patty is far too humble to admit this, but she very often surpasses her musical heroes with her own interpretations, and her version and performance here was no exception.
Ray Price’s original version of “Crazy Arms” was charming, but the Loveless version is nothing less than enchanting. It is pure music magic. Pete Finney begins and ends the song with a palpable sting from his expressive steel guitar, but it’s Loveless’ soulful and soaring vocal that really penetrates the heart. When Patty and Emory recorded their version “Crazy Arms” they slowed down the tempo from a moderate shuffle to a torchy ballad. This serves Patty very well in concert by giving her the opportunity to find and wring out every last drop of emotion hiding in the potential of the original.
Some inspired phrasing enables Patty to put great emotional emphasis on the lyric “crazy dream” as in “this ain’t no cra-zy dream I know that it’s real” whereas Price’s original stressed the first word “This” instead. This subtle yet dramatic difference is but one example of the interpretive genius of Patty Loveless.
The title song of Patty’s Grammy nominated classic country covers album, Sleepless Nights, features Vince Gill, and once again Garry Murray came through with flying colors. Vocally flying with Patty Loveless cannot be easy, “why did you go, why did you go? Don’t you know, dont you know? I need you”, But Murray keeps right up and they both soar to the heights. There was lightning in the area during this concert, and there was a single crackle that seemed to come from the amplifiers during this song. But Patty never missed a beat, and the whole song came off perfectly. Patty Loveless is a force of nature, and she positively electrifies her audience.
Lead guitarist Tom Britt took his opportunity to shine during an extended and exciting slide guitar introduction to another Lauderdale song, “Halfway Down” He wailed away like a true rock star, building anticipation before the familiar opening chords of this Loveless hit. Likewise, Patty kept the excitement going full boil throughout this rip-roaring Mountain Rock song.
The set closer was “Blame It on Your Heart”, perhaps Patty’s most performed song of all. She sings it with an energetic enthusiasm that makes the song fresh for singer and listener, every single time. Indeed, this is the way that she approaches every performance, embracing each and every note like it was her first and only chance to shine and share her gift. This Harlan Howard song is just plain fun and children seem to love it as well, as they try to sing the tongue-twister chorus. Loveless is artist and entertainer in equal measure. No other singer on the scene today balances the two quite as well as Patty Loveless does, with the exception perhaps of Dolly Parton.
Patty’s stage presence is confident as one would expect from a seasoned veteran, but also warm, easy going, and playful. She has a natural Country charisma and even her speaking voice, her relaxed east Kentucky drawl is music to the ears of her audience. The stories of her musical heroes, and her accounts of her formative years as a young artist under the tutelage of the late great Porter Wagoner, and her 21 year membership in the Grand Ole Opry, are informative and entertaining.
Her audience interaction is often full of surprises. Observing the intimacy of the venue, Patty commented how folks in the front rows were so close, and jokingly suggested they grab an instrument and come on up onstage. “But don’t grab me”, she quipped. “Although on second thought, that may be fun” Then she quickly added, “don’t mind me, I’m just a real cut up and a harmless flirt”.
When she mentioned her husband Emory Gordy Jr., she received some noticeable applause from the audience. Patty responded saying that it was good that Emory had some fans here as well, and “I see a young lady here with an Emory (University) shirt, How many concerts is this now, Nicole?” to which Patty’s (and Emory’s) most devoted fan replied “199″, and Patty said with a smile, “Wow, I owe you one, don’t I?” Patty also said something about how she was glad Nicole was such a huge Emory fan, then added: “but don’t forget now, he’s MY man”, which also brought laughter from the audience.
After “Blame” Patty introduced her incredible band. It is clear that all these folks are friends and fans of each other, and Loveless herself can often be seen warmly grinning, holding her heart and slowly shaking her head from side to side with enraptured appreciation during her band’s various instrumental interludes. And proficiency on multiple instruments almost seems to be a requirement in the Loveless band. Marcia, Deannie and Garry all play at least three instruments, and it seems most everyone is schooled on mandolin in a way reminiscent of Bill Monroe’s old Bluegrass string band. The stage, as wide as it was, could barely contain the scope of this incredible array of talent.
There are only a few criticisms for this otherwise flawless concert. The sound of the drums for the first few songs was much too loud, and competed for volume with Loveless’ strong vocals instead of supporting them. But that sonic imbalance was pretty well corrected by the sound techs before too long.
Also, Loveless seemed pitch perfect all throughout, with only one or two apparent missteps. Just enough to remind us that this is a gifted flesh and blood human being, and not some kind of angelic troubadour.
After the band introductions and some more friendly banter with her audience, Patty eased into her encore performance of the Hank Williams standard “Cold, Cold Heart”. With sparse acoustic instrumentation and a little steel, it was almost a capella, and one could hear a pin drop between the notes. Patty’s version is chill-inducing perfection, tear producing and is especially potent live. And that evening her performance was especially transcendent, almost supernatural. I almost expected to see the ghost of Hank Williams take a seat and tip his hat to the finest female interpreter of his work, bar none. I would love to see what Loveless could do with ole Hank’s “I’m So Lonesome I Could Cry”. The audience, and even her own band, was transfixed and mesmerized. Band members Marcia and Deannie especially, looked on with smiles of amazement.
With the completion of each song in the lineup, Loveless and her band received enthusiastic applause, which she greeted each time with sweet smiles and a grateful “God Bless You.” And at the end, she received thunderous standing ovations, and seemed genuinely humbled and overwhelmed. She gathered her band with her outstretched arms, and then they all graciously bowed a collective bow.
Patty Loveless is the most authentic voice in Country music today. Her fidelity to tradition, her creative blending of her own brand of mountain and country music, and her artistic integrity have rightly earned her the title of “Queen of Mountain Soul” from the great Ralph Stanley himself. And performances like her Brownfield concert on Friday, and albums like the exquisite Sleepless Nights demonstrate that she has earned the title “Queen of Country Soul” as well.
Patty’s long awaited follow up to her acclaimed 2001 classic Mountain Soul is scheduled for release on September 29th. Mountain Soul II has every essential ingredient to be yet another Loveless-Gordy masterpiece, and should enrich her already exceptional set list considerably. Just in time for the next leg of her tour starting this Fall.
As for a possible return to the Stone Mountain Arts Center? Word has it that Patty loved it so much, and felt so welcome by her gracious hosts Carol Noonan (folk singer and songwriter), and her husband, their staff and her appreciative fans, that she hopes to return twice a year.
Both on record and in concert, the music of Patty Loveless befriends the listener. She may sing “Soul of Constant Sorrow” on her Mountain Soul album, but the music of Patty Loveless is a source of great and constant joy, as well as inspiration, catharsis and consolation for all with attentive, listening hearts.
-Steve from Boston
For more information on Patty Loveless, visit
Which is the most comprehensive and up-to-date Patty Loveless fan site.
I’m pleased to introduce a new feature to Country Universe readers, which is a spin off of Favorite Songs by Favorite Artists called Favorite Songs by Favorite Songwriters.
While we all appreciate songwriters for their invaluable contributions to our favorite artists, they still often remain unrecognized as the people behind the scenes and, therefore, stand in the shadows of the big name artists who sing their songs. The purpose of this feature is to spotlight those songwriters who had or have aspirations of being stars, but are better known for sharing their craft with the more visible artists.
Therefore, the criteria for this feature is that the spotlighted songwriter has to have both written songs that other artists have recorded and recorded music of his/her own. For instance, Darrell Scott, Rodney Crowell, Radney Foster, Kris Kristofferson, Bruce Robison, etc. are eligible songwriters, since they’ve recorded their own music and written songs for other artists. Conversely, people like Alan Jackson, Garth Brooks, Randy Travis, Clint Black etc. won’t be eligible, since they’ve mostly only written songs for themselves and not others.
Finally, Favorite Songs by Favorite Songwriters will include a mix of songs that the songwriter has recorded, and songs that he/she has written that other artists have recorded, which will obviously depend on our favorite songs by that songwriter and our preferred version of the chosen song.
With this feature, we hope to help readers realize the contributions of individual songwriters and, perhaps, inspire you to explore the artists’ own discographies as a result.
Last summer I kicked off our Songwriters Series with my favorite modern country music songwriter, Darrell Scott. So, I thought it fitting to do the same with this new feature. Since I’ve already taken up considerable space describing this feature, I encourage you all to refer to my aforementioned spotlight to learn more about the man about which this article is written.
A pertinent note, however, is that most of the songs on this list have been recorded by both Scott and other artists. While the majority of the songs on this particular list will specifically refer to other artists, please assume that Scott’s own recordings are more than worth exploring as well.
Darrell Scott, “Banjo Clark” Aloha From Nashville
One of the things that I marvel the most about Darrell Scott is his ability to write songs that sound like timeless standards. “Banjo Clark” is one such song. In fact, I had to double check to make sure Scott had actually written this song and that it wasn’t a public domain standard that he revived.
Tim McGraw, “Old Town New” Live Like You Were Dying
Scott wrote “Old Town New” with another superb modern songwriter, Bruce Robison. So, it’s no surprise that this song about a man wishing that he could make his old town feel new again after a failed relationship is good. While it remained just an album cut on McGraw’s signature album, it’s as good as many of the singles that were released from it.
Suzy Bogguss, “No Way Out” Give Me Some Wheels
“No Way Out” is up-tempo, but is not devoid of life’s realities. The family experiences familiar hardships, but the husband and wife hold themselves accountable by reminding each other that they’ve “fell in love and there’s no way out.”
While Bogguss’ recording is the superior version, both Darrel Scott’s and Julie Roberts’ versions are good as well. Moreover, this is the first song of Scott’s that was recorded by another artist.
Darrell Scott, “When There’s No One Around”
Garth Brooks recorded a version of “When There’s No One Around”, but Scott’s version is more organic and sonically appealing. It’s a poignant look at who we are when there’s no one around, which is inevitably different than our public personas.
Travis Tritt, “It’s A Great Day to Be Alive” Down the Road I Go
We all know “It’s A Great Day to Be Alive”, since it was a big hit for Travis Tritt. This song has been recorded by Scott and Cory Morrow. Tritt’s is the definitive version, however. It tries to be hopeful while still somehow managing to feel a little bleak at the same time. While he proclaims that it’s a great day to be alive, there’s a sadness that lurks under the surface that seems to threaten the bright outlook, which is actually more tangible in Scott’s recording.
Darrell Scott, “With A Memory Like Mine”
“With A Memory Like Mine” was co-written with his dad, Wayne Scott. Darrell found the beginnings of this song in a notebook of his father’s and encouraged the Elder Scott to finish it with him. Scott’s version, which can be found on a solid project with Tim O’Brien, is darker than the quick paced recording by The John Cowan Band, which is more appropriate for this chillingly sad song. The man sends his son off to war by telling him to “be a good soldier/but return again someday.” His son does return, but in the most devastating way possible for a parent. In a casket.
Martina McBride, “I’m Trying”
“I’m Trying” has been recorded by both Diamond Rio as a duet with Chely Wright and Martina McBride, though McBride’s is the stronger version. It explores a struggling relationship that almost seems like more work than it’s worth. Instead of leaving us with a typical happy or tragic ending, we are only given an assurance that they love each other and they are trying to make things work. The melody is tastefully simple with a fitting production that showcases McBride’s atypical restrained vocals, which translates into appropriate empathy for the characters within the song. It is a simple song with a simple production, but still poignant in a quiet way.
Trace Adkins, “Someday”
Adkins is the only artist to record this song, as far as I know. It’s a beautiful and hopeful song, with tinges of sadness. As is duly noted about Adkins, he sings these more serious songs the best, even if radio disagrees.
Dixie Chicks, “Heartbreak Town”
This is an indictment on Nashville, which is one of two songs written by Scott and recorded by The Chicks that tackles the topic. The song portrays Nashville, a place where so many people hope to enjoy success, as a “heartbreak town, which is something that both the Chicks and Scott have surely learned from personal experience.
Kathy Mattea, “Loves Not Through With You Yet”
Right Out of Nowhere
I’m thrilled that one of my favorite Mattea albums includes this thoughtful, gorgeous Celtic flavored song by Darrell Scott: “You may think that love takes two, but loves a gift from you to you.”
Sara Evans, “Born to Fly”
Born to Fly
Scott happened to write one of Sara Evans’ most recognizable and best hits to date. “Born to Fly” is an infectious coming of age song. While her parents are stable and grounded, that’s not the way the songs’ character wishes to live and she asks, “How do you keep your feet on the ground when you know you were born to fly?”
Darryl Worley, “Family Tree”
I Miss My Friend
While many of Scott’s songs can be heavy, this is an example of his sillier side. Scott does a great version, but Worley cuts loose just the right amount. He clearly revels in singing deliciously smarmy lyrics like, “Well, raisin’ up babies is our new sport/You’re one day late and I’m one dollar short/Now, maybe it was planned or maybe it was a goof/But a cat’s got to dance on a hot tin roof.”
Darrell Scott, “Goodle’ USA”
The Invisible Man
A more watered down version of this song can be heard on Faith Hill’s album. If one doesn’t listen closely, it’s easy to miss the probing lyrics that question the state of America. While Scott’s recording is not quite as polished, the political message is much more overt, which includes his original lyrics that were altered for Hill’s version to be less controversial.
Dixie Chicks, “Long Time Gone”
This is the other song that was written by Scott and recorded by The Chicks that takes Nashville to task. Wrapped in an unshakably catchy melody, “Long Time Gone” disregards conventional niceties and tersely critiques the music that’s being played on the radio:
“Now me and Delia singin’ every Sunday
Watchin’ the children and the garden grow
We listen to the radio to hear what’s cookin’
But the music ain’t got no soul
Now they sound tired but they don’t sound Haggard
They got money but they don’t have cash
They got Junior but they don’t have Hank
I think, I think, I think…the rest is…
A long Time Gone”
Patty Loveless, “You’ll Never Leave Harlan Alive”
Patty Loveless’ recording of “You’ll Never Leave Harlan Alive” sounds like a superb arrangement of a forgotten classic, except it isn’t a remake and was written just over ten years ago. While I feel the definitive version was recorded by Patty Loveless, Darrell Scott has recorded two versions that, even if Loveless’ version did not exist, would earn a spot on this list. Through haunting lyrics and melodic structure, “Harlan” tells the tragic story of the bleak existence of coalminers that is just about inevitable:
“But the times got hard and tobacco wasn’t selling
And old granddad knew what he’d do to survive
He went and dug for Harlan coal
And sent the money back to grandma
But he never left Harlan alive
Where the sun comes up about ten in the mornin’
And the sun goes down about three in the day
And you’ll fill your cup with whatever bitter brew you’re drinkin’
And you spend your life just thinkin’ of how to get away”
Patty Loveless sings this song with an immense emotional intensity that was likely gathered from personal experience as a daughter of a coalmining father who eventually succumbed to “Black Lung Disease” as a result of coalmining in Kentucky. In fact, each person who has sung this song so far, including Darrell Scott himself, has a personal and deep understanding of the significance of the hopelessness that the lyrics convey, since Brad Paisley, Kathy Mattea and Scott also lived in coalmining towns as children. Consequently, they were all exposed to the horrifying reality of the song’s title that authoritatively proclaims that “you’ll never leave Harlan Alive.”
This list certainly does not exhaust the extent of Darrell Scott’s immeasurable songwriting prowess, but it shows his wide range of capabilities as a diverse composer and lyricist. He can do fun, heartbreak, inspirational, political, social commentary, fast, slow, etc. Moreover, he does it all with poignancy and wit, as it is appropriate.