Since its inception, the top honor an artist could be given at the Country Music Association awards is this one: Entertainer of the Year. Originally a revolving door of winners, the winner in early years was often not even nominated the following year. In 1981, Barbara Mandrell became the first artist to win the award twice. Alabama succeeded her with a three year run from 1982-1984. Fourteen years later, Garth Brooks became the first artist two win four times, a feat later matched by Kenny Chesney in 2008.
Here’s a look back at the award from the very beginning, along with some facts and feats about the category and its nominees.
1967
Bill Anderson
Eddy Arnold
Merle Haggard
Sonny James
Buck Owens
One year after being inducted into the Country Music Hall of Fame, Eddy Arnold was named the very first Entertainer of the Year at the inaugural CMA awards in 1967. Don’t assume it was a sympathy vote. Arnold had three #1 hits in the twelve months leading up to the ceremony, as he was in the middle of his impressive mid-sixties comeback, a period best defined by the 1965 classic, “Make the World Go Away.” He remains the only member of the Hall of Fame to win this award after being inducted.
1968
Eddy Arnold
Glen Campbell
Johnny Cash
Merle Haggard
Charley Pride
Glen Campbell was a big awards favorite in 1968, with “By the Time I Get to Phoenix” and “Gentle On My Mind” both dominating the Grammy awards earlier that year. His win in this category foreshadowed bigger things, as he soon became a network variety star, while also scoring major country and pop hits with “Wichita Lineman” and “Galveston.”
1969
Glen Campbell
Johnny Cash
Roy Clark
Merle Haggard
Charley Pride
Johnny Cash’s career was rejuvenated on the strength of two live prison albums, the latter of which produced the massive Shel Silverstein-penned smash, “A Boy Named Sue.” His victory came in a year that marked the beginning of his network variety show and had him dominating the country singles charts, spending ten combined weeks at #1 with “Sue” and “Daddy Sang Bass.”
1970
Glen Campbell
Johnny Cash
Roy Clark
Merle Haggard
Charley Pride
Merle Haggard was a mainstay in this category from the beginning, nominated in each of the first seven years of the CMA Awards. His victory in 1970 coincided with his commercial peak, with signature hits “The Fightin’ Side of Me” and “Okie From Muskogee” helping him secure his only win in this category.
1971
Merle Haggard
Loretta Lynn
Charley Pride
Jerry Reed
Conway Twitty
The last of four consecutive years where the Male Vocalist winner matched the Entertainer winner, Charley Pride went home with both awards in 1971. A winner on his fourth nomination, his popularity skyrocketed upon the release of “Kiss an Angel Good Morning,” which was climbing the charts at the time of the awards ceremony.
1972
Merle Haggard
Freddie Hart
Loretta Lynn
Charley Pride
Jerry Reed
Instead of attending the awards show, Loretta Lynn’s husband Mooney went hunting. He didn’t want to watch her lose, but he missed watching history unfold as she became the first woman to win Entertainer of the Year. Lynn’s victory came on the heels of both solo hits like “One’s on the Way” and her popular duets with Conway Twitty.
1973
Roy Clark
Merle Haggard
Tom T. Hall
Loretta Lynn
Charley Pride
Today he’s best known for Hee Haw, the country music variety show that he co-hosted, and it’s no coincidence that he won while the show was in its prime. Still, Clark is also one of country’s most admired legends, and his legacy goes far beyond the television show that showcased his extensive musical and comedic talents.
1974
Roy Clark
Mac Davis
Loretta Lynn
Olivia Newton-John
Charlie Rich
The massive success of “The Most Beautiful Girl” and “Behind Closed Doors” helped Charlie Rich win this award. It was a long time coming, as Rich toiled in obscurity despite critical acclaim for his work. He would continue to score big hits on the country and pop charts over the next couple of years, at one point charting hits on different labels at the same time.
1975
John Denver
Waylon Jennings
Loretta Lynn
Ronnie Milsap
Conway Twitty
John Denver’s victory in this race led to the most infamous moment in CMA history. Though he claimed it was due to medication later on, presenter Charlie Rich seemed to be making a furious statement against the pop crossover artists dominating country music when he opened the envelope, read it, and then lit a cigarette lighter and burned the envelope. The paper went up in flames as he derisively snarled the winner’s name, “My friend, Mister John Denver.” Poor John, accepting via satellite, was clueless to what was going on at the Opry house, and graciously accepted his award.
1976
Waylon Jennings
Ronnie Milsap
Willie Nelson
Dolly Parton
Mel Tillis
This 2007 Hall of Fame inductee won this award just as he was changing labels. Tillis first gained notoriety for his remarkable songwriting talent, but eventually he was scoring enough hits to earn a place in this category. He would go on to have several more big hits after winning this award, earning another nomination in this category two years later.
1977
Merle Haggard
Waylon Jennings
Ronnie Milsap
Dolly Parton
Kenny Rogers
Ronnie Milsap dominated the CMA Awards, becoming one of its most frequently honored performers during the formative years of the awards show. He finally won the big prize on his third try, powered by the success of his classic hit, “It was Almost like a Song.”
1978
Crystal Gayle
Ronnie Milsap
Dolly Parton
Kenny Rogers
Mel Tillis
Her famous quote – “I’m not leaving country. I’m taking it with me” – must have held some water with the Nashville establishment, as Parton won this award at the height of her pop crossover success with “Here You Come Again,” the title track of her first platinum album. The front of her dress popped open before she went up to receive the trophy, prompting her to quip, “That’s what I get for trying to put fifty pounds of mud in a five pound bag.”
1979
Crystal Gayle
Barbara Mandrell
Willie Nelson
Kenny Rogers
Statler Brothers
He never won Male Vocalist of the Year, but superstar Willie Nelson was given his due by the CMA in 1979 when they awarded him Entertainer of the Year. While it wasn’t his biggest year on the charts, residual goodwill from Stardust and his collaborations with Waylon Jennings helped carry him to victory.
1980
Charlie Daniels Band
Larry Gatlin & The Gatlin Brothers
Barbara Mandrell
Willie Nelson
Kenny Rogers
She had a few big hits in 1980, like “Crackers” and “The Best of Strangers.” But it was her incredibly popular variety show with sisters Louise and Irlene that truly showcased her versatility as an entertainer, securing the first of two wins in this category.
1981
Alabama
George Jones
Barbara Mandrell
Oak Ridge Boys
Kenny Rogers
Despite sharing the category with four artists who had never won this award, Barbara Mandrell became the first artist in CMA history to win Entertainer of the Year for the second time. Credit the continued popularity of her television show and the biggest hit of her career, “I Was Country When Country Wasn’t Cool”, which featured a guest turn by fellow nominee George Jones.
1982
Alabama
Barbara Mandrell
Willie Nelson
Oak Ridge Boys
Ricky Skaggs
The band that laid the groundwork for all other country bands that followed, Alabama set a new bar for commercial success in the early eighties. The eligibility period included the release of their biggest-selling studio album, and also two of their signature hits: “Mountain Music” and “Love in the First Degree.”
1983
Alabama
Merle Haggard
Barbara Mandrell
Willie Nelson
Ricky Skaggs
As their studio albums sold in the millions, every single Alabama released to radio was hitting #1, a stretch that would eventually include 21 consecutive chart-toppers. They repeated in this category on the strength of hits like “Dixieland Delight” and “The Closer You Get.”
1984
Alabama
Lee Greenwood
Barbara Mandrell
Ronnie Milsap
Oak Ridge Boys
A mere three years after Barbara Mandrell made history by being the first artist to win two Entertainer awards, Alabama went her one better and won three. They remain one of only two acts to win this award three years in a row, doing so as their hits “Roll On (Eighteen Wheeler)” and “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” dominated the airwaves.
1985
Alabama
Lee Greenwood
Reba McEntire
Ricky Skaggs
George Strait
Few country artists command as much respect as Ricky Skaggs, a consummate singer and musician. Skaggs’ victory in this category signaled the resurgence of traditional country music, as he was the first winner since 1976 to not have achieved crossover hits on pop radio.
1986
The Judds
Reba McEntire
Willie Nelson
Ricky Skaggs
George Strait
One of the most popular new traditionalists of the mid-eighties, McEntire achieved her commercial breakthrough with “Whoever’s in New England”, which was aided in popularity by her first of many high-concept music video clips. McEntire would eventually become the most nominated woman in history, scoring ten nominations over eleven years.
1987
The Judds
Reba McEntire
George Strait
Randy Travis
Hank Williams, Jr.
When Hank Williams, Jr. won the Music Video award the previous year, he reminded voters, “I make audio, too.” They finally got around to acknowledging his meaningful contributions to the genre, awarding him the first of two Entertainer trophies in 1987.
1988
The Judds
Reba McEntire
George Strait
Randy Travis
Hank Williams, Jr.
Hank Jr. may have waited a long time for some CMA love, but once it came, it was in droves. He won Album of the Year the same night he repeated in this category. His biggest hit of the year, “Young Country”, featured guest appearances by up and comers like Highway 101 and Marty Stuart.
1989
Reba McEntire
Ricky Van Shelton
George Strait
Randy Travis
Hank Williams, Jr.
Three years after his most recent Male Vocalist trophy, megastar George Strait was named Entertainer of the Year. He would go on to have one of his biggest years at radio, with two multi-week #1 singles in the twelve months that followed his victory.
1990
Clint Black
Kathy Mattea
Ricky Van Shelton
George Strait
Randy Travis
While Randy Travis dominated the Male Vocalist race, George Strait was given his due again in the Entertainer category. He wore an Entertainer of the Year cowboy belt on the cover of Livin’ it Up, perhaps giving him good luck toward his second victory. He remains the most nominated in this category, and is only the second Hall of Famer to receive a nomination after being inducted into the Hall.
1991
Clint Black
Garth Brooks
Vince Gill
Reba McEntire
George Strait
A mere year after winning the Horizon award, Garth Brooks was the Entertainer of the Year at the CMA Awards. He was breaking every sales record in the book by that point. Shortly before the ceremony, he became the first country artist to enter the overall album chart at #1, leading to a media frenzy that gained unprecedented exposure for both Garth and the genre he represented.
1992
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
Travis Tritt
Given that he was already the biggest-selling country artist the world had ever seen, it was no surprise that Garth Brooks won his second Entertainer of the Year trophy in 1992. His continued popularity was fueled by sold out live shows that soon led to network specials showcasing his unique brand of arena country.
1993
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
Vince Gill capped off an amazing night at the 1993 CMA Awards with his first victory in this category. It was his fifth win of the night, as he also took home Male Vocalist, Song, Album and Vocal Event. As he was also the show’s sole host, the collective exposure pushed him to multi-platinum sales.
1994
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
The soft-spoken Gill won for a second year, which was no big surprise given his widespread popularity in Music City. He also went home with Album and Male Vocalist the same night, giving him a stunning fourteen trophies in only five years.
1995
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
As one of the evening’s top nominees, Alan Jackson brought his parents as his special guests. After losing in every other category, he expressed relief that he finally won something, as going home empty handed would’ve been embarrassing. Jackson would eventually become one of the organization’s most awarded artists.
1996
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
George Strait
They were already winners of five CMA awards, due solely to their domination of the Vocal Duo category. But in 1996, they finally won another race, and it was a big one. Brooks & Dunn remain the only duo to win this award, with The Judds and Sugarland being the only other duos to receive nominations.
1997
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
George Strait
In a year when all five nominees had won this award before, it was Garth Brooks who returned to the winner’s circle, tying Alabama’s long-standing record of three victories in this category. Adding to the sense of déjà vu, this was the third year in a row where all five nominees were the same.
1998
Brooks & Dunn
Garth Brooks
Vince Gill
Tim McGraw
George Strait
As hard as it is to believe that there were any records left for him to break by 1998, Garth Brooks shattered another one, becoming the first artist in the history of the CMA to win four Entertainer of the Year awards. By this time, Garth had already sold more than 60 million albums, and while he has yet to win this award again, he remains the top-selling solo artist of all time in the United States.
1999
Garth Brooks
Dixie Chicks
Tim McGraw
George Strait
Shania Twain
The odds seemed against Shania Twain, as she had never won a CMA award before and the last woman to win was Reba McEntire thirteen years earlier. Fittingly, McEntire was on hand to present the trophy to Twain, who won on the strength of Come On Over, which eventually became top-selling country album of all time and the top selling album of the decade from any genre.
2000
Dixie Chicks
Faith Hill
Alan Jackson
Tim McGraw
George Strait
The Dixie Chicks capped off a stunning three-year run at the CMA Awards with this victory, one of nine that they racked up since 1998. Within those three years, their first two albums each sold over ten million copies, and the band was widely credited for championing country radio and traditionalism while other top acts were crossing over to pop radio.
2001
Brooks & Dunn
Dixie Chicks
Alan Jackson
Tim McGraw
George Strait
After winning two Male Vocalist and two Album of the Year honors in the previous three years, Tim McGraw finally won the CMA’s top award. It was a satisfying acknowledgment of an artist who’d had his talent underestimated in the first few years of his stardom, but built up a reputation for his stellar taste in choosing material.
2002
Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
George Strait
Jackson’s win in 1995 came as he was reaching his commercial peak. In the years that followed, Jackson remained a successful and well-respected artist that got less attention every year when it came time to hand out awards. Then came the one-two punch of “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”, both of which were viewed as the very embodiment of all that makes country music unique and essential. This was one of five awards he was honored with that night.
2003
Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
Tim McGraw
Although the ACM had chosen Toby Keith as their standard bearer a few months earlier, the CMA stuck with the previous year’s winner Alan Jackson. By 2003, Jackson had evolved into an elder statesman for the genre, but still managed to stay relevant with hits both clever (“It’s Five O’Clock Somewhere”) and poignant (“Remember When.”)
2004
Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
Tim McGraw
Chesney’s long dry spell at the CMA’s came to a satisfying end as the superstar collected both Entertainer and Album of the Year trophies. He had been charting for eleven years before finally winning his first CMA award.
2005
Kenny Chesney
Alan Jackson
Toby Keith
Brad Paisley
Keith Urban
One of the most surprising and endearing wins in the history of this category, a shocked and humbled Urban accepted this award in New York City. He couldn’t have picked a better night to bring his Australian parents to the ceremony.
2006
Brooks & Dunn
Kenny Chesney
Brad Paisley
Rascal Flatts
Keith Urban
It’s pretty rare to come back and win this award for a second time, as most multiple wins have been consecutive in this category. But Kenny Chesney joined Garth Brooks and Alan Jackson as the only other artists to pull it off when he won in 2006, a club that would later be joined by Taylor Swift.
2007
Kenny Chesney
Brad Paisley
Rascal Flatts
George Strait
Keith Urban
Chesney entered the elite company of Garth Brooks, Alabama, and Alan Jackson with his third victory in this category. Rascal Flatts, meanwhile, became the first group since the Dixie Chicks to score back-to-back nominations, a feat also accomplished by Alabama and the Oak Ridge Boys.
2008
Kenny Chesney
Brad Paisley
George Strait
Sugarland
Keith Urban
As Sugarland became only the third duo in history to receive a nomination and George Strait extended his record number of nominations to sixteen, Kenny Chesney tied Garth Brooks for the most wins in this category with his fourth victory. His popularity at radio and retail was remarkable, but it was Chesney’s highly attended summer stadium tours that earned him these wins.
2009
Kenny Chesney
Brad Paisley
George Strait
Taylor Swift
Keith Urban
Taylor Swift both made history and prevented it with her win in this category. She simultaneously became the youngest artist ever and the first female solo artist in ten years to take home the prize. She also kept Kenny Chesney from becoming the sole all-time champion in this category, as he remains tied with Garth Brooks with four wins to date.
2010
Lady Antebellum
Miranda Lambert
Brad Paisley
Keith Urban
Zac Brown Band
2010 shook up the category, with three first-time contenders in the running for the crown for the first time since 1981. Despite all the new blood, sixth time proved to be the charm for Brad Paisley, who finally won this award after five consecutive losses. Paisley’s persistent popularity helped him earn the nod in a year where the two previous winners weren’t even nominated.
2011
Jason Aldean
Brad Paisley
Blake Shelton
Taylor Swift
Keith Urban
Thirty years after Barbara Mandrell became the first woman to win this award twice, Swift became the second to do so. She won the award on the strength of her third set, Speak Now, which showcased her growing maturity as a songwriter and her growing appeal beyond her teenage and young adult fan base.
2012
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift
One of the most surprising wins in CMA history, few saw Blake Shelton’s victory coming. But it isn’t too surprising when you consider the number of artists who parlayed network television exposure into a win in this category. Perhaps in this new era of media saturation and minimal album sales, television may once again become a deciding factor when choosing the genre’s top star every year.
2013
Jason Aldean
Luke Bryan
Blake Shelton
George Strait
Taylor Swift
George Strait’s farewell tour helped return him to the category for the first time since 2009, earning him a record-extending eighteenth career nomination. Strait joins previous winners Taylor Swift (2009, 2011) and Blake Shelton (2012) in attempting a return to the winner’s circle. Luke Bryan earns his first nomination, just months after winning the ACM trophy. Jason Aldean, meanwhile, is hoping to get lucky the third time around.
Facts & Feats
Multiple Wins:
(4) – Garth Brooks, Kenny Chesney
(3) – Alabama, Alan Jackson
(2) –Vince Gill, Barbara Mandrell, George Strait, Taylor Swift, Hank Williams, Jr.
(2) – Garth Brooks (1991-1992, 1997-1998), Vince Gill (1993-1994), Barbara Mandrell (1980-1981), George Strait (1989-1990), Hank Williams, Jr. (1987-1988)
Most Nominations:
(18) – George Strait
(12) – Alan Jackson
(11) – Brooks & Dunn
(10) – Reba McEntire
(9) - Garth Brooks, Kenny Chesney
(8) - Vince Gill, Merle Haggard, Brad Paisley
(7) – Keith Urban
(6) – Barbara Mandrell, Tim McGraw, Willie Nelson, Brad Paisley, Charley Pride, Keith Urban
(5) – Alabama, Loretta Lynn, Ronnie Milsap, Kenny Rogers
Most Nominations Without a Win:
(5) – Kenny Rogers
(4) – Toby Keith, Randy Travis
(3) – Jason Aldean, Waylon Jennings, The Judds, Oak Ridge Boys
Winners in First Year of Nomination:
Eddy Arnold (1967), Garth Brooks (1991), Glen Campbell (1968), John Denver (1975), Charlie Rich (1974), Taylor Swift (2009), Mel Tillis (1976), Shania Twain (1999), Keith Urban (2004), Hank Williams, Jr. (1987)
CMA Entertainers of the Year Who Have Never Won the ACM Award:
Eddy Arnold, Johnny Cash, Glen Campbell, Roy Clark, John Denver, Vince Gill, Alan Jackson, Tim McGraw, Ronnie Milsap, Brad Paisley, Charlie Rich, Blake Shelton, Ricky Skaggs, Taylor Swift, Mel Tillis, Keith Urban
ACM Entertainers of the Year Who Have Never Won the CMA Award:
Luke Bryan, Mac Davis, Mickey Gilley, Freddie Hart, Toby Keith, Kenny Rogers, Carrie Underwood
To recognize the impact that Alabama has had on modern country music, you could consider their millions of albums sold, their hundreds of awards, their many #1 songs or their induction into the Country Music Hall of Fame in 2005. You could also look at how the boys from Fort Payne, Ala. have the distinction of bringing something entirely new into country music.
Prior to Alabama, country music was predominantly a land of solo acts, with the occasional superstar duos (Conway & Loretta, George & Tammy) or backing bands (The Strangers, The Buckaroos) thrown in for good measure. Sure, there were plenty of vocal groups (Statler Brothers, Oak Ridge Boys), but actual bands, who played their own instruments, were few and far between in country music. It took Alabama to break down that particular barrier, and they paved the way for groups like Zac Brown Band, Diamond Rio, Eli Young Band and others.
Alabama is celebrating its 40th anniversary with a reunion tour and a couple of well-deserved tribute albums. The tributes are quite different, with one being done under the direction of the band, and the other a completely independent effort.
Alabama & Friends, featuring many of today’s leading country stars, comes off as less of a tribute album and more of an Alabama-themed celebrity karaoke night. Many of the songs have very similar arrangements to the originals, and even include Randy Owen, Jeff Cook and Teddy Gentry on lead and harmony vocals.
Many of the memorable elements from the original songs are still present. The fiddle breakdown in “Tennessee River” (with Jason Aldean), the tempo changes in “My Home’s in Alabama” (with Jamey Johnson) – they’re all present and accounted for. The songs that stick close to the originals aren’t necessarily bad. Luke Bryan, for instance, has plenty of flaws as a country singer, but his vocal abilities are not in question, so his version of “Love in the First Degree” is solid. The same could be said of Jason Aldean’s take on “Tennessee River” and Toby Keith’s “She and I.” There’s nothing wrong with them, but fans who love the Alabama originals might think the new ones are a bit too by-the-book.
There are a few instances where the guest singers step outside the box and add more of their own personality to the recording. Trisha Yearwood, the only female voice on the project, does a lovely job on “Forever’s as Far as I’ll Go,” and “Lady Down on Love” by Kenny Chesney stands among his best vocal performances. The same can’t be said of Florida Georgia Line, who takes “I’m in a Hurry (and Don’t Know Why),” adds their usual amount of noise and clutter to the mix, and makes it sound like every other Florida Georgia Line song ever recorded. While it’s a rare opportunity to hear both Tyler Hubbard and Brian Kelley sing lead vocals, it raises the issue of whether or not they’ve already run out of original ideas.
Alabama recorded two songs for the first time in 11 years, but they’re the weakest songs on the album. For a band that was one of the first to successfully blend country music with amped-up Southern rock, “That’s How I Was Raised” and “All American” are low-energy, generic rah-rah country disappointments.
Various Artists High Cotton: A Tribute to Alabama
High Cotton: A Tribute to Alabama, is available from Lightning Rod Records and has a collection of Americana/Red Dirt/indie all-stars doing their takes on Alabama hits. There is some overlap with the Alabama & Friends, but these versions have a bit more of an original feel. “Why Lady Why” gets transformed into a smoldering soul tune by JD McPherson, while Jason Isbell and John Paul White of The Civil Wars completely reinvent “Old Flame.” The Turnpike Troubadours and Shonna Tucker provide a spark with “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” and “Roll On (Eighteen Wheeler),” respectively. While neither version is light years from the original, they add energy to a project that leans heavily toward slow and reflective songs.
Two of Alabama’s love songs are recast as duets. While it’s startling to hear Todd Snider as a romantic balladeer instead of a smart-ass hippie folk singer, his voice never quite meshes with Elizabeth Cook on “Feels So Right.” Wade Bowen and Brandy Clark’s duet on “Love in the First Degree” is excellent, however, and raises the anticipation level for Clark’s debut album.
Not every experiment is a success. Once again, “I’m in a Hurry” gets short shrift, as Jessica Lea Mayfield turns it into a funereal dirge. “Lady Down on Love” just does not work as a bluegrass/spoken word ballad, as evidenced by Bob Schneider & The Texas Bluegrass Massacre with Ray Benson. Jason Boland & The Stragglers’ take on “Mountain Music” is fine, but the insistence of aping the original, from the spoken-word intro to the guest vocals from a couple of the Stragglers à la Cook and Gentry is a little cheesy.
It’s a testament to Alabama’s far-reaching appeal that artists as different as Jason Isbell and Jason Aldean would want to sing their songs. Whether it’s a note-for-note recreation or a completely new interpretation of their hit songs, there is something in these two albums to please any Alabama fan.
While the rest of the country fixates on “Nashville,” the 46th annual Country Music Association Awards air live from Music City with equal drama and ridiculousness November 1 at 7 p.m. CST. The CU staff picked and predicted the awards below. Chime in with your thoughts, and check back for our live blog on Thursday night!
Entertainer of the Year
Should Win:
Jason Aldean – Dan, Ben, Kevin
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift – Jonathan, Tara, Leeann
Will Win:
Jason Aldean – Dan, Ben, Jonathan, Kevin
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift – Tara, Leeann
Dan: I’ll probably never be able to fully embrace Aldean, but his impact on the genre remains undeniable, and once in a while he releases something like “Fly Over States” that lends some dimension to his hick-rock formula.
Tara: “Fly Over States” will land on my best-of-2012 list (I’m as surprised as you are), but I just can’t get behind Jason Aldean’s overall brand of country, regardless of his impact. That leaves me with Blake Shelton and Taylor Swift, and only the latter put out music to match her star in the eligibility period. Boring category.
Ben: Sadly, this category just keeps getting harder and harder for me to care about. I could still see Swift taking it, but an Aldean victory is almost certain to happen sooner or later, and I’m thinking this could be his year. Blake’s turn will come eventually, but not until after Aldean has had his.
Jonathan: Aldean has yet to release anything I’ve liked even a little bit, but this award has increasingly turned into Nashville’s way to say “thank you” to whoever is bringing the most cash back to Music Row, so Aldean is likely due for a pat on the back. On some level, Shelton’s heightened media presence is its own reward, but he’s the most likely spoiler here, since pop crossover stars like Swift rarely pull off repeat wins.
Kevin: Should win: Carrie Underwood. But since she’s not nominated, I’ll go with Jason Aldean, who has been the biggest country artist this past year. I expect he’ll win, too.
Leeann: While it’s completely baffling to me that Jason Aldean has taken off as he has, I wouldn’t be shocked if he won this award. I, however, feel that it’s far more likely that Taylor Swift will win again.
Female Vocalist of the Year
Should Win:
Kelly Clarkson
Miranda Lambert – Leeann
Martina McBride
Taylor Swift
Carrie Underwood – Dan, Ben, Jonathan, Tara, Kevin
Will Win:
Kelly Clarkson
Miranda Lambert – Dan, Ben, Jonathan, Tara, Kevin
Martina McBride
Taylor Swift – Leeann
Carrie Underwood
Tara: I still believe Underwood’s best is yet to come, but she deserves respect from the industry and critics alike for taking the kind of creative, thematic and interpretive risks she took with Blown Away. Maybe come next year she’ll have more influence; this year, the award is still Lambert’s to lose. (And shout out to homegirl Clarkson, who may have no place in this category, but who gave us the best cover of “Go Rest High On That Mountain” that I’ve ever heard.)
Ben: In my perfect world, Carrie Underwood’s solid new music (which was released within this year’s eligibility period) would nab her the trophy. Miranda had the most radio success this year, and will almost surely emerge victorious, but I simply can’t endorse the idea of rewarding her for releasing two singles that were easily the worst duds of her career. Footnote: Country radio seriously needs to start supporting more female artists.
Jonathan: I adore Kelly Clarkson, and, based upon nearly a decade’s worth of concert performances, I’d argue that she has the best taste in country material of any of the women nominated, and I look forward to the day when she finally records a proper country album. But her nomination here is absurd. Fortunately, she’s not really in the running to win. This likely comes down to Lambert and Underwood. In the past, I’ve championed Lambert for her fearless artistic vision, and I’ve been highly critical of Underwood’s grossly over-praised and over-rewarded output. But, this year, I’d prefer to see Underwood recognized for what is far and away her career-best work than to see Lambert win for what is quite obviously her worst. I doubt the voters will agree.
Dan: Ditto the others, pretty much. Underwood’s taste in material has deepened, but what excites me most is that her interpretive abilities have, too. I never used to feel comfortable with those comparisons to the Trishas and Connies of the world. Now I do.
Kevin: It’s all been said. Underwood’s reached new heights of artistry while still maintaining her commercial relevance. I’d call her one of the best, but that would imply there’s anyone else in her league right now.
Leeann: Miranda Lambert is still my favorite out of these choices and Kelly Clarkson’s nomination is still confusing to me. I think the award is a toss up between Taylor and Carrie in all actuality though.
Male Vocalist of the Year
Should Win:
Jason Aldean
Luke Bryan
Eric Church – Dan, Ben, Jonathan, Tara, Kevin
Blake Shelton – Leeann
Keith Urban
Will Win:
Jason Aldean
Luke Bryan – Dan
Eric Church – Kevin
Blake Shelton – Ben, Jonathan, Tara, Leeann
Keith Urban
Tara: Unlike last year’s crop of men, these five at least put out memorable if not entirely thoughtful material in the eligibility period. But Church is the only one who’s had a consistent vision, and what a difference that makes. I don’t see the voters dethroning Shelton, though.
Ben: I expect that the CMA is going to continue shoving the whole “Blake and Miranda are the new Tim and Faith!” idea down our throats, but Eric Church made the best music of the field by far, and country radio finally decided to get on board with it. Eric Church deserves this.
Jonathan: Church is the only one of the five who has released any strong material during the eligibility period, though I generally remain a fan of Urban’s. It’s hard to see either of those two men winning, though. Urban’s past his commercial peak, and Church is still too divisive a persona. I also think Aldean’s vocal limitations play against him here – see Chesney, Kenny, and his track record in Male Vocalist races – especially since he’s likely to be recognized elsewhere. That leaves Crest WhiteStrips to take on Shelton. I think Shelton gets another win before Bryan’s inevitable coronation here.
Dan: CMA has developed a bad habit of just voting for the incumbent. But Bryan has the most momentum right now, so what the hey; I’ll mix things up and call it Crest Whitestrips 2012.
Kevin: Gonna go out on a limb and say the best one takes it home this year. They’ve got to be itching to finally acknowledge Eric Church, right? Right???
Leeann: Blake Shelton has had a good year. I suppose he has a good, high profile chance of being rewarded for it.
Vocal Group of the Year
Should Win:
The Band Perry
Eli Young Band
Lady Antebellum
Little Big Town – Kevin
Zac Brown Band – Dan, Ben, Jonathan, Tara, Leeann
Will Win:
The Band Perry
Eli Young Band
Lady Antebellum – Dan, Ben, Leeann
Little Big Town – Jonathan, Tara, Kevin
Zac Brown Band
Dan: Little Big Town’s album is too new, but their sudden momentum could power them to a spoiler win here anyway, depending on who Capitol gets behind. I’ll support them come ACM time; for now, give Zac Brown Band their freakin’ due.
Tara: Zac Brown Band and Little Big Town both put out stellar new music; the only major difference is timing. I support a ZBB win but won’t be disappointed if/when the “Pontoon”-fueled LBT steals this from the most complacent group in country music.
Ben: Zac Brown Band should win. Lady Antebellum will win. Déjà vu?
Jonathan: As much as logic points to another indefensible win for the most useless act in popular music, and as much as I want to see Zac Brown Band finally earn their long-overdue recognition, I’m calling this one an upset for the also-long-overdue Little Big Town. That karaoke video for “Pontoon” showed off just how deeply likedthey are by their peers, and now that they have the commercial stats, I think that that pervasive goodwill gives them the edge here.
Kevin: I think the red-hot momentum of Little Big Town could put them over the top. Zac Brown Band’s been my pick for a couple of years, but I really think they’re just treading water at this point.
Leeann: Zac Brown Band is far and away my favorite group of the nominees here, but Little Big Town’s talent is undeniable. I’d be happy if either of them won. I’m afraid Lady A will still win though.
Vocal Duo of the Year
Should Win:
Big & Rich
Love and Theft
Sugarland
The Civil Wars – Dan, Ben, Jonathan, Tara, Kevin, Leeann
Thompson Square
Will Win:
Big & Rich
Love and Theft
Sugarland – Leeann
The Civil Wars – Kevin
Thompson Square – Dan, Ben, Jonathan, Tara
Ben: Because The Civil Wars are good.
Jonathan: Per usual: Merge this category with Vocal Group to trim the fat. The only act here deserving of the recognition is the one with the longest of long-shots to win.
Dan: La la la.
Tara: So pointless.
Kevin: I’m going out on another limb, this time by thinking that the whole “massive commercial success without radio” thing will give the Civil Wars a Mavericks-style victory. I’d honestly rather be wrong in my predictions than be depressed before the show even airs.
Leeann: I don’t think Sugarland has had a particularly active year, but I think they might still win based on name recognition.
New Artist of the Year
Should Win:
Lee Brice – Ben, Tara, Leeann
Brantley Gilbert
Hunter Hayes – Dan, Kevin
Love and Theft
Thompson Square
Will Win:
Lee Brice
Brantley Gilbert – Dan, Ben, Jonathan
Hunter Hayes – Kevin, Leeann, Tara
Love and Theft
Thompson Square
Dan: Since none of these artists do it for me, I’d shrug it over to the technically skilled Hayes, who I think could be interesting in the future if he challenges himself to become more than a one-man boy-band. As Sawyer Brown and Keith Urban have proven, sometimes an artist earns their win in this category retroactively.
Tara: Hunter Hayes needs to rein it in a bit, but his chops have potential. Lee Brice needs to find better material, but his performances are believable. “Hard To Love” is one of my favorite guilty pleasures of the year, so I guess I’ll go with the latter?
Ben: Lee Brice strikes me as having the most potential of these nominees, but right now, I think the Brantley Gilbert virus has already spread too far.
Jonathan: Absolutely not.
Kevin: Hunter Hayes is the musical equivalent of those memes that show cats doing people things. He’s putting out real country music, and it’s adorable! All joking aside, I’m pulling for real country music wherever I can find it. Hayes is all I’ve got to work with here.
Leeann: I’m really not fond of any of these choices.
Album of the Year
Should Win:
Luke Bryan, Tailgates and Tanlines
Eric Church, Chief – Dan, Ben, Jonathan, Tara, Kevin, Leeann
Miranda Lambert, Four the Record
Dierks Bentley, Home
Lady Antebellum, Own the Night
Will Win:
Luke Bryan, Tailgates and Tanlines
Eric Church, Chief – Dan, Kevin
Miranda Lambert, Four the Record – Ben, Tara
Dierks Bentley, Home
Lady Antebellum, Own the Night – Jonathan, Leeann
Dan: Everyone but Bentley’s got a shot, but my hopeful guess is that this is where the CMA will reward Church.
Tara: Chief and Four the Record both made big impressions on me last year, but only the former has held up with time. I’ll be optimistic and predict the CMA will reward its reigning Female Vocalist of the Year over its reigning Group of the Year. (I still can’t get over Own the Night winning a Grammy, y’all. Unbelievable.)
Ben: Church’s Chief is head-and-shoulders above the rest of the field, but my gut is still predicting a Lambert and Shelton sweep, though there’s still a chance the voters may decide to reward that dreadful Lady A album instead.
Jonathan: Bright side: This is the last major “Album of the Year”-type award Own the Night is eligible to win. Downside: This is the last major “Album of the Year”-type award Own the Night will win, at the expense of far more deserving competition.
Kevin: I think Chief really made an impression, and I’m betting it was enough of one to win.
Leeann: I reflexively assume Lady A will win this award at this point, but I’m hoping for a Dierks Bentley or Eric Church win. Dierks Bentley’s album is quality and I feel Eric Church’s album is interesting and fresh.
Song of the Year
Should Win:
“Even If It Breaks Your Heart” – Will Hoge and Eric Paslay – Dan, Jonathan, Tara
“God Gave Me You” – Dave Barnes
“Home” – Dierks Bentley, Dan Wilson and Brett Beavers – Kevin, Leeann
“Over You” – Miranda Lambert and Blake Shelton
“Springsteen” – Eric Church, Jeff Hyde and Ryan Tyndell – Ben
Will Win:
“Even If It Breaks Your Heart” – Will Hoge and Eric Paslay – Dan, Tara
“God Gave Me You” – Dave Barnes – Leeann
“Home” – Dierks Bentley, Dan Wilson and Brett Beavers
“Over You” – Miranda Lambert and Blake Shelton – Ben, Jonathan
“Springsteen” – Eric Church, Jeff Hyde and Ryan Tyndell – Kevin
Dan: I think I’m just being optimistic, but maybe the earnest Hoge/Paslay story of struggling for an artistic life will resonate with enough music-industry vets to overcome the bait-ishness of “Over You” and “Home.” Maybe?
Tara: I’d be fine with three of these five winning — and would even argue that, as a composition, “God Gave Me You” is solid — but “Even If It Breaks Your Heart” has the most soul. I’m not entirely sure where the votes will fall on this one, but maybe pop culture’s spotlight on Nashville will mean a win for the songwriters’ anthem?
Ben: I can’t picture this going to anyone but Lambert and Shelton. If the CMA intends to keep working this ridiculous power-couple nonsense, they have created a golden opportunity here, and I highly doubt the song’s awfulness will be any hindrance.
Jonathan: If knowing a song’s tragic backstory is a requirement for finding “meaning” in that song, then its songwriters have failed.
Kevin: I’m hoping the CMA voters sing Shelton and Lambert’s song back to them when filling out their ballots, and pick the strongest singer-songwriter in this race. Bentley’s cut is my personal favorite.
Leeann: I just have a feeling that the bland love song will win, but I’m hoping that the thoughtful “Home” will prove me wrong.
Single of the Year
Should Win:
Jason Aldean, “Dirt Road Anthem” – Kevin
Blake Shelton, “God Gave Me You”
Dierks Bentley, “Home” – Leeann
Little Big Town, “Pontoon”
Eric Church, “Springsteen” – Dan, Ben, Jonathan, Tara
Will Win:
Jason Aldean, “Dirt Road Anthem” – Kevin
Blake Shelton, “God Gave Me You” – Ben, Leeann
Dierks Bentley, “Home” – Dan, Jonathan, Tara
Little Big Town, “Pontoon”
Eric Church, “Springsteen”
Dan: Feels like a toss-up, actually. I’d figure “Home” and “Springsteen” to duke it out, but remember that year when “I Saw God Today” randomly won?
Tara: “Home”’s graceful approach to patriotism is lovely and especially appreciated during this infuriating election season, but the song itself lacks spark. “Springsteen” is the better all-around record, and I think it’ll hold up with time, which is a lot more than I can say about the remaining three songs in the category.
Ben: I think “Springsteen” is going to be the song with the most staying power.
Jonathan: As fine a single as “Springsteen” is, I just can’t see the CMA rallying behind a song inspired by the Boss, especially not in an election year. Bentley’s thoughtful and relatively subtle brand of patriotism seems like a far safer bet.
Kevin: I think that Aldean’s track is the coolest sounding record of the five. Surface pleasures will suffice.
Leeann: Please not “Dirt Road Anthem”!
Musical Event of the Year
Should Win:
”Dixie Highway”- Alan Jackson and Zac Brown Band
”Feel Like a Rock Star” – Kenny Chesney and Tim McGraw
”Roll Me Up and Smoke Me When I Die” – Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson – Dan, Jonathan, Tara
”Safe and Sound” – Taylor Swift featuring the Civil Wars – Ben, Kevin, Leeann
”Stuck on You” – Lionel Richie and Darius Rucker
Will Win:
”Dixie Highway”- Alan Jackson and Zac Brown Band
”Feel Like a Rock Star” – Kenny Chesney and Tim McGraw – Ben, Jonathan, Leeann
”Roll Me Up and Smoke Me When I Die” – Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson
”Safe and Sound” – Taylor Swift featuring the Civil Wars – Dan, Kevin, Tara
”Stuck on You” – Lionel Richie and Darius Rucker
Dan: “Roll Me Up” is a little hoot. But “Safe and Sound” had a higher profile, and it gives CMA a chance to be like, “See? We do appreciate the Civil Wars!”
Tara: Every song but “Roll Me Up” feels like it’s lacking something (in Chesney/McGraw’s case, taste), but I think “Safe and Sound” will have enough commercial clout to nab this one.
Ben: While I’m always happy to see some Alan Jackson love, “Dixie Highway” just doesn’t match the simple charm of Jackson and ZBB’s previous collaboration. “Safe and Sound” is just such a cool, haunting record – one that brings out the best in both of the acts involved. But since “Feel Like a Rock Star” has the biggest names attached, I think it’s an easy call that it’s going to win.
Jonathan:“Safe and Sound” is my favorite track here, but not necessarily because it’s a great collaboration. “Roll Me Up,” on the other hand, is a fun standalone cut that feels like a real event, and I appreciate the self-awareness with which the artists toy with their public personas. But it’s hard to imagine more conservative voters being on-board with the phrase, “CMA award winner Snoop Dogg.” The Chesney and McGraw duet quite rightfully bricked at radio, but it’s still the most likely winner here on star power alone.
Kevin: “Safe and Sound” succeeded in pushing the most mainstream of artists into an alternative country sound without sacrificing the identity of the duo that helped her get there. Plus it actually worked as a theme song to a movie that didn’t exactly lend itself to easy theming.
Leeann: I’d be fine with any of these except for the one that will probably win.
Eric Church, “Springsteen” – Dan, Ben, Tara, Kevin
Kenny Chesney, “Come Over”
Miranda Lambert, “Over You”
Little Big Town, “Pontoon”
Toby Keith, “Red Solo Cup”
Will Win:
Eric Church, “Springsteen”
Kenny Chesney, “Come Over”
Miranda Lambert, “Over You” – Dan, Ben, Jonathan, Kevin
Little Big Town, “Pontoon”
Toby Keith, “Red Solo Cup”
Dan: The “Springsteen” video is pretty neato. Oh well.
Tara: The video for “Springsteen” is haunting. I dig it.
Jonathan: The Twilight-hued video for “Over You” is every bit as narrativeless, cloying, and shallow as the song itself, so I’m just going to pretend this is a retroactive win for “Kerosene.”
Kevin: (…Goes to YouTube to watch videos for first time…) Lambert, you had me until the horse. I’m going with Church, mostly because it reminds me of my own childhood and also Poltergeist for some reason.
Musician of the Year
Should Win:
Sam Bush – Jonathan, Kevin
Paul Franklin – Ben, Leeann
Dann Huff
Brent Mason
Mac McAnally
Will Win:
Sam Bush
Paul Franklin
Dann Huff – Jonathan, Kevin
Brent Mason
Mac McAnally – Ben, Leeann
Ben: It’s Paul Franklin’s turn… and it has been for years now.
Jonathan: It’s not as cool as Chris Thile’s winning a MacArthur Fellowship, but Sam Bush’s nomination for his extraordinary mandolin work is my favorite thing on the entire CMA ballot this year.
Kevin: I can’t vote against the mandolin. I just can’t.
The list of nominees for the 46th annual Country Music Association Awards has been released. Eric Church had a big breakthrough this past year, and such is reflected in the nominee list – Church leads the pack with five nominations. Power couple Blake Shelton and Miranda Lambert follow with four each, including a shared Song of the Year nod for their co-write “Over You.”
What’s your take on this year’s field of CMA nominees? Whose nominations were deserved, and whose were not? Who got snubbed? Share your thoughts in the comments section.
The live presentation airs Thursday, November 1 at 8pm Eastern on ABC-TV. The Country Universe Staff Picks & Predictions will be released the week of the show. Feel free to join us on show night for some live-blogging fun!
Entertainer of the Year
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift
Who’s in: Kenny Chesney
Who’s out: Keith Urban
No real surprises here. This year we swapped out Urban for Chesney, but all of these nominees have been here at least once before.
Female Vocalist of the Year
Kelly Clarkson
Miranda Lambert
Martina McBride
Taylor Swift
Carrie Underwood
Who’s in: Kelly Clarkson
Who’s out: Sara Evans
Well, I was hoping for some new blood in this category, and that’s definitely what I got. Pop crossover star Kelly Clarkson scores her first nomination in the Female Vocalist field, displacing Sara Evans. There will likely be some amount of upset over Clarkson receiving such an accolade, as she had one #21-peaking country hit in the past year with “Mr. Know It All,” but has yet to release a full-length country album. And…that makes her one of the top five leading female vocalists in the country format? Okay…
Male Vocalist of the Year
Jason Aldean
Luke Bryan
Eric Church
Blake Shelton
Keith Urban
Who’s in: Luke Bryan, Eric Church
Who’s out: Kenny Chesney, Brad Paisley
Bryan and Church’s recent career strides are rewarded
with their first nominations in the always-competitive Male Vocalist race.
Vocal Group of the Year
The Band Perry
Eli Young Band
Lady Antebellum
Little Big Town
Zac Brown Band
Who’s in: Eli Young Band
Who’s out: Rascal Flatts (!!!)
Eli Young Band scores a pair of huge radio hits, and thus squeezes out a former staple of the Vocal Group race.
Vocal Duo of the Year
Big & Rich
Love and Theft
Sugarland
The Civil Wars
Thompson Square
Who’s in: Big & Rich, Love and Theft
Who’s out: Montgomery Gentry, Steel Magnolia
New Artist of the Year
Lee Brice
Brantley Gilbert
Hunter Hayes
Love and Theft
Thompson Square
Who’s in: Lee Brice, Brantley Gilbert, Hunter Hayes, Love and Theft
Who’s out: The Band Perry (won), Luke Bryan, Eric Church, Chris Young (So, everyone except Thompson Square)
Album of the Year (Awarded to artist and producer)
Luke Bryan, Tailgates and Tanlines Produced by Jeff Stevens and Mark Bright
Eric Church, Chief Produced by Jay Joyce
Miranda Lambert, Four the Record Produced by Frank Liddell, Chuck Ainlay, and Glenn Worf
Dierks Bentley, Home Produced by Brett Beavers, Luke Wooten, and Jon Randall Stewart
Lady Antebellum, Own the Night Produced by Paul Worley and Lady Antebellum
Song of the Year (Awarded to songwriters)
Eli Young Band, “Even if It Breaks Your Heart”
Written by Will Hoge and Eric Paslay
Blake Shelton, “God Gave Me You”
Written by Dave Barnes
Dierks Bentley, “Home”
Written by Dierks Bentley, Dan Wilson and Brett Beavers
Miranda Lambert, “Over You”
Written by Miranda Lambert and Blake Shelton
Eric Church, “Springsteen”
Written by Eric Church, Jeff Hyde and Ryan Tyndell
Single of the Year (Awarded to artist and producer)
Jason Aldean, “Dirt Road Anthem”
Produced by Michael Knox
Blake Shelton, “God Gave Me You”
Produced by Scott Hendricks
Dierks Bentley, “Home”
Produced by Brett Beavers and Luke Wooten
Little Big Town, “Pontoon”
Produced by Jay Joyce
Eric Church, “Springsteen”
Produced by Jay Joyce
Musical Event of the Year
Alan Jackson and Zac Brown Band, “Dixie Highway”
Kenny Chesney and Tim McGraw, “Feel Like a Rock Star”
Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson, “Roll Me Up and Smoke Me When I Die”
Taylor Swift featuring the Civil Wars, “Safe and Sound”
Lionel Richie and Darius Rucker, “Stuck on You”
Music Video of the Year (Awarded to artist and director)
Eric Church, “Springsteen”
Directed by Peter Zavadil
Kenny Chesney, “Come Over”
Directed by Shaun Silva
Miranda Lambert, “Over You”
Directed by Trey Fanjoy
Little Big Town, “Pontoon”
Directed by Declan Whitebloom
Toby Keith, “Red Solo Cup”
Directed by Michael Salomon
Musician of the Year
Sam Bush
Paul Franklin
Dann Huff
Brent Mason
Mac McAnally
He started out as one of the lesser-ran hat acts of the nineties boom, catapulted to fame on the strength of a novelty song. But skillful song selection and deepening commitment to artistry helped Tim McGraw emerge as one of the genre’s strongest talents.
Born and raised in Louisiana, Tim McGraw was the son of baseball legend Tug McGraw, though he didn’t know this until he was an older boy. He was an aspiring baseball player himself, and attended college on a sports scholarship. While there, he learned to play guitar and grew more interested in pursuing music as his full-time career.
McGraw was inspired by the music of Keith Whitley, and by chance, he moved to Nashville on the same day that Whitley passed away. He played the clubs around town for four years, eventually garnering the interest of Curb Records. His self-titled debut album was released in 1993 to little fanfare, so it was a big surprise the following year when his second album, Not a Moment Too Soon, spent nearly thirty weeks at #1. It was the controversial novelty hit “Indian Outlaw” that got it there, but four more hits from the same set kept it at the top.
McGraw’s sudden move to multi-platinum sales gave him access to far better material, and over the next decade, a string of hit albums would establish him as one of Nashville’s best pickers of material. In 1996, he married fellow superstar Faith Hill, and they spent six weeks at #1 with “It’s Your Love”, their award-winning duet that was only one of many hit collaborations between the two. In the late nineties, he dominated radio with several multi-week #1 singles, becoming the genre’s flagship male vocalist and one of the few to win two consecutive CMA Album of the Year awards.
His success continued into the 21st century, and while McGraw became a movie star on the side, he still kept his primary focus on the music. In 2004, “Live Like You Were Dying” became the biggest hit of his career, earning him a Grammy and spending 7 weeks at #1, his cost viagra longest-running stay on the top of the charts. After the album of the same name sold in the millions, his record sales began to cool, though disagreements with his label heated up. He still had regular hits on the radio, but for the first time, he also had several singles missing the top ten.
McGraw finished his commitment to Curb records in early 2012, and has now moved on to Big Machine records, releasing his first single for the label in the summer of 2012. He is currently on a successful stadium tour with Kenny Chesney, an artist that he influenced and mentored.
It took me until nearly the end before I realized who Jake Owen was reminding me of on this one.
Rick Springfield. Slightly less theatrical, but Owen doesn’t have all that soap opera experience to draw upon.
So, “The One that Got Away” is about a summer love that ends when the weather changes. It’s an old story. It’s been done on the beach. It’s been done at the seaside carnival. It’s been done on the farm. It’s been done in the fields.
It’s gotta be done with cleverness. Or distinctiveness. Or viagra non prescription sincerity. This fails on all counts, leaving us with a generic summer song that’s as easily forgotten as the love that it documents.
Written by Dallas Davidson, Jake Owen, and Jimmy Ritchey
After many years as a mid-level country artist, Kenny Chesney fused arena-size country with Caribbean rhythms to become one of the genre’s biggest stars of the 21st century.
Born and raised in East Tennessee, Chesney didn’t seriously start pursuing music until he was in college, despite being an enthusiast his entire life. While continuing his studies, Chesney played in a bluegrass band and for tips at a Mexican restaurant. He managed to finance a demo album and moved to Nashville in 1991. He played at a local honky-tonk called the Turf, and eventually landed a publishing deal in 1992 that led to a record deal with Capricorn in 1993.
His debut for the label, In My Wildest Dreams, found little success, but it laid the groundwork for a new deal with BNA Records. His second set, All I Need to Know, put him on the map. Throughout the nineties, he slowly built a career at radio and retail, as his songs inched higher on the charts and he moved from gold, to platinum, and then to multi-platinum sales by the end of the nineties.
Still, there was little to indicate that he was about to explode into superstardom. But as his live shows gained greater attention, Chesney began to incorporate Caribbean sounds into his music, styling himself as an island singer in the same vein as Jimmy Buffett. Through stronger song choices that helped repair the novelty act image that had been created with hits like “She Thinks My Tractor’s Sexy”, Chesney began to earn critical acclaim for his work.
By the mid-2000′s, Chesney was the biggest act in country music, selling millions of copies of his albums and more concert tickets than even the biggest pop and rock acts of the day. He dominated the awards circuit, and even managed to sell big numbers of indulgent side projects like Be Who You Are and Lucky Old Sun.
Today, Chesney remains a top concert draw and a core radio act. He is currently prepping another studio album and a co-headlining tour with Tim McGraw.
Throw on your bedazzled boots – the 47th annual Academy of Country Music Awards air live from Las Vegas this Sunday at 8 p.m. EST. The show promises to be a melting pot of performances, with oddball duets like Rascal Flatts and Steve Martin - and no, that’s not an April Fools joke. The CU staff picked and predicted the awards below. Tell us your thoughts, and check back for our live blog on Sunday night!
Entertainer of the Year
Should Win:
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift – Jonathan, Dan, Tara, Leeann, Kevin, Ben, Sam
Will Win:
Jason Aldean – Sam
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift – Jonathan, Dan, Tara, Kevin, Ben
Ben: Okay, so I was going to go with Aldean based on his massive success… but Swift’s music has just been too dang good lately.
Jonathan: Swift is the only one of the five who has released any music I really liked during the eligibility period; that fan voting is part of whatever mysterious algorithm is used to determine the winner of this award helps her case. I recognize that Aldean has a good look at this, too, but I’ll admit to just digging my heels in and refusing to get on board with the idea that he’s considered the standard-bearing artist in country music.
Tara: Swift released some of the best material of her career in the eligibility period, and her star seems as bright as it’s ever been. And while I can’t picture her losing something fan-voted, I wouldn’t be shocked if Aldean snuck up on her, especially given the secret fan / academy vote ratio. I just hope that this time next year, there are a few shake-ups in this category. I’m bored.
Dan: I like Swift the best, but can’t muster the energy to root actively against Aldean like I did with, say, Rascal Flatts.
Kevin: Aldean vs. Swift, with me erring on the side of the one who made more music that I liked this year.
Sam: Just a hunch, but the Taylor Swift voters might be as fanatical as usual because Carrie Underwood isn’t nominated for this award. That might give Aldean the chance to sneak in.
Male Vocalist of the Year
Should Win:
Jason Aldean – Dan, Kevin, Sam
Kenny Chesney
Brad Paisley
Blake Shelton
Chris Young – Ben, Jonathan, Tara
Will Win:
Jason Aldean – Dan, Sam
Kenny Chesney
Brad Paisley
Blake Shelton – Ben, Jonathan, Tara, Kevin
Chris Young
Dan: Aldean remains the hottest guy out there by a huge margin, and occasionally puts out something decent like “Fly Over States.” I’ll just keep picking him to win this until he does. La la la.
Ben: Aldean’s success speaks for itself, but I would really like to see Chris Young take this. He released a solid new album, remained a consistent hitmaker at radio, and has made the most music that I’ve actually cared about. But seeing as the industry award voters have been showing a lot of excessive Shelton love as of late, my gut says that Blake Shelton is going to get this. (There are no awards for TV Judge of the Year or Newlywed of the Year, so the ACM will probably give him this one instead)
Jonathan: So let’s talk about Chris Young for a minute. The guy has a fantastic voice, one of the strongest and most distinctive instruments to come down Music Row in a minute, and that alone is enough to elevate him above most of the other men who have scored major airplay in the past couple of years. But the discrepancy between the quality of Young’s vocal performances and the quality of the songs he’s performing is a problem, and here’s yet another instance of an artist with the potential to be really and truly great receiving a thumbs-up from the industry for work that’s just occasionally on the better side of okay. Where’s the incentive for someone like Young to be even better if he’s being recognized now? And what does it say that, despite his wildly uneven material, he’s far and away the class of this particular field of nominees?
Tara: I have to disagree with Jonathan on this one; I find Neon to be a refreshing, neo-traditional gem, more organic than it is uneven. In this stage of Young’s career, I view his body of work as a stepping stone and an indication of potential, and I have no issue with it being rewarded. But it won’t be; Mr. Lambert’s got the entertainment industry on lockdown. And I can’t say I really mind.
Kevin: Picking Aldean as the “should win” solely because he had the biggest year, though I suspect Shelton will win anyway.
Sam: I get the love for Miranda Lambert, but the Blake Shelton love is largely lost on me. Not a fan of Aldean either, but he’s due for this award.
Female Vocalist of the Year
Should Win:
Sara Evans
Miranda Lambert – Dan, Ben, Tara, Leeann, Sam
Martina McBride
Taylor Swift – Jonathan, Kevin
Carrie Underwood
Will Win:
Sara Evans
Miranda Lambert – Dan, Ben, Jonathan, Tara, Leeann, Sam
Martina McBride
Taylor Swift – Kevin
Carrie Underwood
Dan: I think Swift has been the strongest solo act this past year, but Lambert released a decent fourth album and a terrific group one. With no place on the ballot to reward Pistol Annies (fix that, CMAs?), this’ll do.
Ben: Swift put out a string of very good singles, but… Four the Record + Pistol Annies = The Miranda Lambert love will be fully justified.
Jonathan: If we’re counting Pistol Annies, then I can absolutely see the case for Lambert and could be convinced to vote accordingly, and I think she still has the momentum to win here. If we’re just looking at solo material, though, I’m unapologetically sticking with Swift’s “Mean” and “Sparks Fly,” which trump anything that the other four women in the category released during the eligibility period. With Underwood having a new album to support and, hopefully, Kellie Pickler getting the recognition she deserves for her latest work, this category should be a hell of a lot more interesting and competitive come CMA time.
Tara: Swift delivered the better material, but Lambert delivered the better performances, Hell On Heels notwithstanding. By my definition of FVOTY, this should go to Lambert. (And I’m stoked for the fall award season, too.)
Leeann: I have no real reason to believe that the Academy would take this from Lambert this year.
Kevin: Can you believe that Swift is the only nominee who hasn’t won this yet? I know Lambert should be the favorite, especially given the ACM’s fondness for her. But I can’t shake the feeling that she’s lost some momentum with her latest project.
Sam: Miranda will continue to own this category until someone like Carrie Underwood steps up with a new album.
Vocal Duo of the Year
Should Win
Love and Theft
Montgomery Gentry
Steel Magnolia
Sugarland – Leeann
Thompson Square – Dan, Ben, Tara
Will Win:
Love and Theft
Montgomery Gentry
Steel Magnolia
Sugarland – Dan, Ben, Leeann, Kevin
Thompson Square – Jonathan, Tara, Sam
Ben: The Civil Wars are really the only duo I’ve cared about this past year, but they have been stupidly excluded in favor of Love and Theft (who only released one mediocre single in the past year), so I’m going with Thompson Square instead. They’ve been doing well at radio, and their music has not been terribly grating, but I’m pretty sure that the ACM will remain stuck on Sugarland.
Dan: With The Civil Wars absent from ACM’s roster and Sugarland having a messy year across the board, Thompson Square seems like the last band standing. And they’re cute, right?
Jonathan: The song remains the same: This category should’ve been merged with Vocal Group of the Year eons ago to trim the fat. Given that the ACMs are still ostensibly more radio-oriented than the CMAs and that Sugarland have actively alienated radio with the god-awful singles from their god-awful album, I’m going to say that Thompson Square pull off the upset here. Just don’t ask me to hum or even to name more than one of their songs…
Tara: I honestly can’t muster an opinion. What’s Sugarland been up to these days, anyway?
Leeann: This category isn’t even worth comment this year.
Kevin: Saying somebody should win implies that I think there’s a worthy winner, so I’m just going to say that Sugarland will win.
Sam: No Bellamy Brothers nod? You mean country music actually had five legit nominees for a Duo award this year? Artistically, The Civil Wars and Foster & Lloyd would be the most deserving this year.
Vocal Group of the Year
Should Win:
The Band Perry
Eli Young Band
Lady Antebellum
Rascal Flatts
Zac Brown Band – Dan, Ben, Jonathan, Tara, Leeann, Kevin, Sam
Will Win:
The Band Perry – Sam
Eli Young Band
Lady Antebellum – Dan, Ben, Jonathan, Tara, Leeann, Kevin
Rascal Flatts
Zac Brown Band
Ben: I’ve tried to hold out hope that the award industries would lay off the ridiculous Lady A adoration, but the CMAs and Grammys have shown me otherwise.
Jonathan: No reason to think the ACMs will break the trend of giving unearned trophies to the C students in the class.
Tara: I remain firmly in ZBB’s corner; the band produced my favorite single of 2011. But I would much, much prefer this award to go to the flavor of the month Eli Young Band than the flavor of the year Lady Antebellum.
Dan: I miss Little Big Town, but this is the first time in recent memory that this category has had five competitive groups. Like Aldean in the Male Vocalist race, Zac Brown Band sell as well as anyone and haven’t won yet, so I’ll probably keep picking them until they do, too. La la la x2.
Leeann: I’d love to see Zac Brown Band take it this year, but I don’t have enough faith that Lady A won’t just keep the award.
Kevin: Always gonna root for ZBB. Just losing hope that they’ll ever actually win.
Sam: ZBB is operating on a higher level than any other vocal group, but I’m alright with The Band Perry’s quirkiness getting some recognition.
New Artist of the Year
Should Win:
Brantley Gilbert
Hunter Hayes – Dan, Tara
Scotty McCreery
Will Win:
Brantley Gilbert
Hunter Hayes
Scotty McCreery – Ben, Dan, Jonathan, Tara, Leeann, Kevin, Sam
Dan: Of the three, I think Hayes has the most raw talent (played every instrument on his album!) and could one day be an interesting artist. So, vote of optimism! ;D
Ben: I think this will be between Gilbert and McCreery. My gut says Scotty McCreery “will” win, but this line-up is just too depressing for me to make a case for who “should” win. Dan makes a good point about Hunter Hayes though…
Jonathan: I can’t.
Tara: Uh…I guess this is as good a time as any to confess my love for “Storm Warning.”
Leeann: I don’t even have the heart to choose who I think should win, but I’m guessing the “American Idol” winner will win.
Kevin: New Coke >>>> New Artist of the Year.
Sam: This is fan voted, right? Well, if McCreery’s fans can vote him to win “American Idol”…
Album of the Year
Should Win:
Eric Church, Chief – Dan, Ben, Jonathan, Tara, Leeann, Kevin
Miranda Lambert, Four The Record – Sam
Kenny Chesney, Hemingway’s Whiskey
Jason Aldean, My Kinda Party
Lady Antebellum, Own The Night
Will Win:
Eric Church, Chief
Miranda Lambert, Four The Record
Kenny Chesney, Hemingway’s Whiskey
Jason Aldean, My Kinda Party – Dan, Ben, Sam
Lady Antebellum, Own The Night – Jonathan, Tara, Leeann, Kevin
Ben: Eric Church edges out Miranda as my pick, but I’m fairly sure this will go to Aldean, and I refuse to predict that Lady Antebellum will win this.
Jonathan: I liked Lambert’s album exponentially less each time I listened to it, so I stopped listening to all but two of its tracks (“Fine Tune” and “Dear Diamond”) months ago to preserve at least some degree of fondness for it. Church’s album has some significant limitations of its own, but, song-for-song, it’s the strongest set in this line-up. I have no idea what I would ever actually say to a person who believes that Richard Marx’s Repeat Offender Amy Grant’s House of Love Lady Antebellum’s Own the Night scans as a country album in any substantive way, or that it’s the best country album of this or any year. But clearly there are people who do believe that, and recent history says there are enough of them for Lady A to win this.
Tara: It’s a toss up between Lambert and Church for me, with Church’s realized hard-assness giving Chief a slight edge. But it’s Lady A’s to lose – and I’m not sure anything in the industry has frustrated me more than their wins as of late. It’s worse than laughably unfair; it’s potential-threatening. And it has to stop.
Dan: When Church is bad, he’s cringe-worthy. When he’s good, he kicks most of the ass he told you he’d kick.
Leeann: I won’t be surprised if Lady A wins, but I’d love to see Eric Church win for the most interesting album of the bunch. I wouldn’t mind seeing Miranda Lambert win either.
Kevin: I just hope I’m wrong a lot this year.
Sam: Pretty sad when a “good for a Jason Aldean album” album beats out two superior albums from Church and Lambert, but I think that will be the case.
Single Record of the Year
Should Win:
Eli Young Band, “Crazy Girl”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Toby Keith, “Red Solo Cup”
Chris Young, “Tomorrow”
Kenny Chesney featuring Grace Potter, “You and Tequila” – Ben, Dan, Tara, Leeann, Kevin, Sam
Will Win:
Eli Young Band, “Crazy Girl”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Dan, Ben, Jonathan, Tara, Leeann, Kevin, Sam
Toby Keith, “Red Solo Cup”
Chris Young, “Tomorrow”
Kenny Chesney featuring Grace Potter, “You and Tequila”
Ben: “Tequila” outclasses most of the field, though “Tomorrow” is also a solid contender. I get the novelty value of “Red Solo Cup,” but Single Record of the Year? Nah…
Jonathan: Even for a novelty song, I thought “Red Solo Cup” was poorly constructed and lazily written, but I kind of hope it wins, if only to prove that this year’s ACMs are just a straight-up farce.
Tara: I don’t love any of these, but “You and Tequila” is the only one I can imagine holding up in ten years.
Dan: Whatever.
Leeann: I can’t even believe “Red Solo Cup” is a contender! I’d love to see Kenny win for one of his best recordings, though I suspect Jason Aldean and Kelly Clarkson will win due to their cross genre appeal and all.
Kevin: Please let me be wrong a lot this year.
Sam: I will be rooting for “Red Solo Cup” and its inspired idiocy, but this could be part of Jason Aldean’s big night at the ACM.
Song of the Year
Should Win:
“Crazy Girl” – Lee Brice & Liz Rose
“Home” – Brett Beavers, Dierks Bentley & Dan Wilson – Leeann
“Just a Kiss” – Dallas Davidson, Dave Haywood, Charles Kelley & Hillary Scott
“Threaten Me With Heaven” – Amy Grant, Vince Gill, Dillon O’Brian & Will Owsley – Jonathan, Tara, Kevin
“You and Tequila” – Matraca Berg & Deana Carter – Dan, Ben, Sam
Will Win:
“Crazy Girl” – Lee Brice & Liz Rose
“Home” – Brett Beavers, Dierks Bentley & Dan Wilson – Dan, Ben, Jonathan, Tara, Sam
“Just a Kiss” – Dallas Davidson, Dave Haywood, Charles Kelley & Hillary Scott – Kevin
“Threaten Me With Heaven” – Amy Grant, Vince Gill, Dillon O’Brian & Will Owsley
“You and Tequila” – Matraca Berg & Deana Carter – Leeann
Dan: “Home” has felt like awards bait to me since I first heard it. Me, I’m a “Tequila” guy.
Ben: Ditto to Dan.
Jonathan: As much as I’d like to see Berg and Carter pick up some new hardware, I’d still give the edge to Gill’s song. When “Home” does win, which I agree it will, I’ll just pretend it means that Jason Isbell has finally won a major industry award.
Tara: “Threaten Me With Heaven” is gorgeously written, but I won’t mind if (and when) “Home” takes the award. Country music could use a shot of graceful patriotism.
Leeann: I’m pleased to have three songs that I’d be happy to see win the award this year. I feel like either Chesney or Bentley will rightfully win…I hope so at least.
Kevin: Pretty please?
Video of the Year
Should Win:
Eric Church, “Homeboy”
Lady Antebellum, “Just a Kiss”
Taylor Swift, “Mean” – Ben, Dan, Jonathan, Tara, Kevin, Sam
Toby Keith, “Red Solo Cup”
Jason Aldean, “Tattoos On This Town”
Will Win:
Eric Church, “Homeboy”
Lady Antebellum, “Just a Kiss”
Taylor Swift, “Mean” – Kevin
Toby Keith, “Red Solo Cup” – Ben, Dan, Jonathan, Tara, Sam
Jason Aldean, “Tattoos On This Town”
Ben: I could actually live with “Red Solo Cup” winning this, but I still enjoy “Mean” quite a bit more. Plus I kind of hate Lady Antebellum’s video for being nothing more than a glorified iPad commercial. I also think “Mean” deserved a nomination for Single Record of the Year, so I would like to see it acknowledged here. Still, I don’t think I can bet against “Red Solo Cup.”
Jonathan: That “Mean” didn’t score the Single and Song of the Year nominations with the ACMs that it has elsewhere seems revealing, with “Red Solo Cup” as the most likely beneficiary. I just hope that the faux gravitas of the “Homeboy” clip doesn’t give it any footing.
Tara: I’m equally disappointed that “Mean” didn’t snag a nomination for Single or Song of the Year. With the video almost as freshly produced as the single, it’s an easy one to root for in this category. I have no inkling as to who will win, but I’ll piggyback off of my co-bloggers on the frat party anthem.
Dan: I could do without how the “Mean” clip ends with a little girl idolizing Taylor Swift, but am I gonna vote against the country music video that had the anti-gay-bullying message? No, I’m not.
Kevin: I think the Swift clip has enough pizazz to triumph in the end over Toby’s YouTube video.
Vocal Event of the Year
Should Win:
Aaron Lewis featuring George Jones & Charlie Daniels, “Country Boy”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Brad Paisley featuring Alabama, “Old Alabama”
Brad Paisley duet with Carrie Underwood, “Remind Me” – Tara, Kevin, Ben
Kenny Chesney featuring Grace Potter, “You and Tequila” – Dan, Jonathan, Leeann, Sam
Will Win:
Aaron Lewis featuring George Jones & Charlie Daniels, “Country Boy”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Jonathan, Dan, Leeann, Kevin, Sam
Brad Paisley featuring Alabama, “Old Alabama”
Brad Paisley duet with Carrie Underwood, “Remind Me” – Tara, Ben
Kenny Chesney featuring Grace Potter, “You and Tequila”
Jonathan: The Lewis track is one of the worst singles of the past five years or more, and its nomination is an indication of how deeply modern country music hates the actual traditions and values of the genre.
Tara: As middle-of-the-road as it is, something in the melody of “Remind Me” intrigues me. And I have a random feeling the voters will use this category to reward their dethroned male and female vocalists of the year.
Dan: It’ll be interesting to see if “Remind Me” can unseat “Don’t You Wanna St– oh, who am I kidding. Nothing is interesting anymore.
Leeann: Ugh. I pretty much know that Jason Aldean and Kelly Clarkson will win, but I’d love to be wrong. Meanwhile, I continue to faithfully root for the Chesney/Potter collaboration.
Kevin: I like my Vocal Events to be full-out Vocal Events, so I’m going for Paisley/Underwood over Chesney with backing vocals from Potter. The latter pair made the better record, though.
Ben: I’m with Tara and Kevin. “You and Tequila” is the best record overall, but that has more to do with Berg and Carter’s songwriting than with Potter’s contributions. “Remind Me” is the one that feels like an actual event.
Sam: Aldean & Clarkson outscreamed Paisley & Underwood, so they lay claim to the trophy. Chesney and Potter, what were you two thinking by just going out there and singing? Next time, I want to hear some wailing and primal screams, because that’s what makes for a successful duet these days.
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