As Dan observed in his single review of “Up on the Ridge”, there was a noticeable decline in Dierks Bentley’s music after his well received Long Trip Alone album. It is purely speculative to suggest, but one can’t help but wonder if Bentley himself felt staleness creeping into his music as well. It’s not farfetched for the idea to be true, since Dierks has proven himself to be an astute artist in the past. So, why wouldn’t he notice if there was, indeed, a shift?

Speculation aside, Bentley has taken a break from the routine of his last four albums to create an album that is far removed from what is popular on mainstream country radio and somewhat different than what he’s put on his own previous albums. However, he is still marketing to radio, as his first single, the title track, has been treated like any other Bentley single release. The album is not as adventurous, or as strong, as the Dixie Chicks’ unapologetically acoustic album, but it may be as close to the concept as we have gotten since their targeted mainstream acoustic project, Home.

It has been appropriately publicized that this album is not a pure bluegrass project. Instead, it is close in style to the bluegrass influenced tracks that Bentley has consistently included on each of his studio albums. Yes, mandolin, banjo, dobro and fiddle are ever present, but Bentley is not shy about using drums, exploring subversive melodies (“Up on the Ridge”, “Fallin’ for You”), or deviating from traditional bluegrass rules of engagement along the way. Moreover, Bentley does not possess the high lonesome tenor that is typically associated with bluegrass. He, however, proves himself to be a capable vocalist within the parameters of his unique style of it.

A handful of covers, songs by well respected songwriters, and some of Bentley’s own compositions makes this rootsy album a well rounded set. The best of the covers is bob Dylan’s “Senor (Tales of Yankee Power) and Kris Kristofferson’s Bottle to the Bottom”. While the otherwise solid “Bottle to the Bottom” features a somewhat pointless cameo by Kristofferson, the addition of the Punch Brothers on “Senor” is inspired art. A less successful cover is U2’s “Pride (in the Name of Love).” While Del McCoury’s distinctive tenor does well to do the heavy lifting, the over all recording still lacks the etherealness of the original. Ironically, as they are most closely associated with Americana, the Buddy Miller cover is the most mainstream friendly sounding song on the album. Unfortunately, it is also inferior to Miller’s version.

Among the strongest of Bentley’s songs is “Rovin’ Gambler” (once again, with the Punch Brothers), “Draw Me a Map” (featuring Alison Krauss on background vocals), “You’re Dead to Me” (co-written by and featuring Tim O’Brien”, and “Down in the Mine.”

Bentley wisely enlists the help of some of his creative friends such as the Punch Brothers (with Chris Thile of Nickel Creek fame), Del McCoury, Alison Krauss, Vince Gill, Jamey Johnson, Miranda Lambert, Tim O’Brien, and Kris Kristofferson. Complimented by Jon Randall’s organic production sensibilities, this impeccable support adds a welcome texture to the project. However, the collaborations work best when they are more subtle. For instance, while the prospect of Miranda Lambert and Jamey Johnson collaborating is, indeed, an appealing concept, the result does not rise to the occasion in practice. Both Lambert and Johnson deliver excellent performances with Bentley on “Bad Angel”, with Lambert’s voice being huskier than usual, but the parts together translate as more disjointed than natural. Likewise, the results of Del McCoury’s and Kris Kristofferson’s contributions were not as successful as one would hope for from such revered artists. On the other hand, the Punch Brothers (who played on several tracks), Alison Krauss, Tim O’Brien, Jon Randall, and Vince Gill (“Fiddlin’ Around”) were used less overtly to greater effect.

With expert musicianship by the best in the business, solid songs, and impressive vocal support, Up on the Ridge is a refreshing album from an artist who is taking a chance with this musical detour while still in the throes of a considerably lucrative career. Not only is taking such a chance commendable, Bentley has created a solid album to justify the diversion.

As always, we start with a look at this year’s nominees and work our way back to 1968.

2010

• 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.

2009

• 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.

2008

• Gary Allan, “Watching Airplanes”
• Big & Rich, “Lost in This Moment”
• Kenny Chesney, “Don’t Blink”
• Miranda Lambert, “Famous in a Small Town”
• Sugarland, “Stay”

“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.

2007

• 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.

2006

• 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.”

2005

• 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.”

2004

• 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.

2003

• 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.

2002

• 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.

2001

• 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.

2000

• Dixie Chicks, “Ready to Run”
• Lonestar, “Amazed”
• 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.”

1999

• 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.

1998

• 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.

1997

• 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.

1996

• 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.

1995

• 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.

1994

• 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.

1993

• 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.

1992

• 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.

1991

• 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.

1990

• 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.

1989

• 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.

1988

• 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.

1987

• 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.

1986

• 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.

1985

• 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.

1984

• 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?

1983

• 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”
• Sylvia, “Nobody”

Nelson’s had quite a few signature hits, but none bigger than this one.

1982

• 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.

1981

• 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.

1980

• 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!

1979

• 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.

1978

• 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.

1977

• 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.”

1976

• 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.

1975

• 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.

1974

• 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.

1973

• 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.

1972

• 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.

1971

• 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.

1970

• 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.

1969

• 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.

1968

• 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:

Most Wins

• (4) – Alan Jackson
• (3) – Willie Nelson
• (2) – Glen Campbell, Faith Hill, Tim McGraw, Kenny Rogers, George Strait, Randy Travis

Most Nominations

• (12) – Merle Haggard
• (8) – Willie Nelson
• (6) – Brooks & Dunn, Alan Jackson, George Strait
• (5) – Glen Campbell, Waylon Jennings, Tim McGraw
• (4) – Garth Brooks, Toby Keith, Loretta Lynn, Brad Paisley, Kenny Rogers, Randy Travis

Most Nominations Without a Win

• (4) – Toby Keith, Loretta Lynn, Brad Paisley
• (3) – Alabama, Crystal Gayle, The Judds, Miranda Lambert, Hank Williams Jr.

Singles that Won Both the ACM and CMA Award:

• Merle Haggard, “Okie From Muskogee”
• Donna Fargo, “The Happiest Girl in the Whole U.S.A.”
• Charlie Rich, “Behind Closed Doors”
• Cal Smith, ‘Country Bumpkin”
• Kenny Rogers, “Lucille”
• George Jones, “He Stopped Loving Her Today”
• Oak Ridge Boys, “Elvira”
• Willie Nelson, “Always On My Mind”
• Randy Travis, “Forever and Ever, Amen”
• Kathy Mattea, “Eighteen Wheels and a Dozen Roses”
• Garth Brooks, “Friends in Low Places”
• Alan Jackson, “Chattahoochee”
• John Michael Montgomery, “I Swear”
• George Strait, “Check Yes or No”
• Lee Ann Womack with Sons of the Desert, “I Hope You Dance”
• Alan Jackson, “Where Were You (When the World Stopped Turning)”
• Tim McGraw, “Live Like You Were Dying”

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:

2010

• 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.

2009

• 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.

2008

• 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.

2007

• 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.

2006

• 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.

2005

• 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.

2004

• 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.”

2003

• 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)”.

2002

• 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.

2001

• 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.”

2000

• 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.

1999

• 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.

1998

• 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.

1997

• 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.”

1996

• 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.

1995

• 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.

1994

• 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.

1993

• Garth Brooks, The Chase
• Brooks & Dunn, Brand New Man
• Mary Chapin Carpenter, Come On Come On
• Billy Ray Cyrus, Some Gave All
• Wynonna, Wynonna

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.

1992

• 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.

1991

• 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.

1990

• 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.

1989

• 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.

1988

• 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.

1987

• 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.

1986

• 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.

1985

• 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.”

1984

• 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.”

1983

• 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.”

1982

• 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.”

1981

• 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.”

1980

• 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.

1979

• 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.

1978

• 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.

1977

• 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.

1976

• 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.

1975

• 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.

1974

• 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.

1973

• 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”.

1972

• 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.

1971

• 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.

1970

• 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.

1969

• Glen Campbell, Wichita Lineman
• Bobbie Gentry & Glen Campbell, Bobbie Gentry & Glen Campbell
• Merle Haggard, The Best of Merle Haggard
• Merle Haggard, Mama Tried
• Buck Owens, Best of Buck Owens

Campbell won for the second year in a row, this time sharing the victory with Bobbie Gentry of “Ode to Billie Joe” fame.

1968

• Glen Campbell, Burning Bridges
• Glen Campbell, Gentle on My Mind
• Merle Haggard, Branded Man
• Merle Haggard, I’m a Lonesome Fugitive
• Wynn Stewart, It’s Such a Pretty World Today

California favorite Glen Campbell won the first ACM trophy in this category, and he’d remain a favorite of the Academy over the next decade.

Facts & Feats

Multiple Wins:

• (3) – Alabama, Alan Jackson, George Strait
• (2) – Glen Campbell, Dixie Chicks, Toby Keith

Most Nominations:

• (17) – Merle Haggard
• (12) – George Strait
• (7) – Garth Brooks, Glen Campbell, Willie Nelson
• (6) – Alabama, Tim McGraw
• (5) – Loretta Lynn, Brad Paisley, Kenny Rogers

Most Nominations Without a Win:

• (4) – Vince Gill, Waylon Jennings, Charley Pride, Ricky Skaggs
• (3) – Johnny Cash, Kenny Chesney, The Judds, Patty Loveless, Ricky Van Shelton, Hank Williams Jr., Dwight Yoakam

Albums that won the ACM Award and the CMA Award:

• Merle Haggard, Okie From Muskogee
• Charlie Rich, Behind Closed Doors
• Willie Nelson, Always on My Mind
• Alabama, The Closer You Get
• George Strait, Does Fort Worth Ever Cross Your Mind
• Garth Brooks, No Fences
• George Strait, Blue Clear Sky
• George Strait, Carrying Your Love With Me
• Dixie Chicks, Fly
• Soundtrack, O Brother Where Art Thou?
• Alan Jackson, Drive
• Brad Paisley, Time Well Wasted
• George Strait, It Just Comes Natural
• Taylor Swift, Fearless

Albums that Won the ACM award and the Grammy for Album of the Year:

• Soundtrack, O Brother Where Art Thou?
• Taylor Swift, Fearless

Albums that Won the ACM award and the Grammy for Best Country Album (only presented in 1965-1966 and 1995-present):

• Shania Twain, The Woman in Me
• Dixie Chicks, Wide Open Spaces
• Dixie Chicks, Fly
• George Strait, Troubadour
• Taylor Swift, Fearless

By Guest Contributor Cory DeStein.

Over the river and through the snow to the ‘Shine All Night Tour’ we go…On this particular Saturday night a friend and I traveled through the snow and ice to attend the Martina McBride and Trace Adkins tour stop at the Peterson Event Center, here in Pittsburgh.  This is the third time I have been fortunate enough to experience a Martina tour, along with the ‘Timeless’ and ‘Waking Up Laughing’ tour, and like those performances the country diva did not fail to deliver.

In front of a black back drop Trace kicked off the show, much to the delight of fan club section nestled quite noticeably to the right of the stage, rose onto the stage with his opening number “I Got My Game On” one of the many novelty songs he charmed the audience with throughout his one hour set.

Trace has one hell of a powerful voice, but he sadly didn’t go out of his way to show it throughout the show. He rather focused more on hits like “Honky Tonk Badonkadonk,” “Hot Mama,” “Swing,” and “Rough and Ready” along with other similar tunes.  Towards the end of his set, he introduced his recently crowned ACM Song of the Year, “You’re Gonna Miss This.”

Just in case fans had forgotten the true potential he returned to the stage to entertain the enthusiastic crowd with “Muddy Water” and “Higher Ground” joined by a 7 member gospel choir for his encore. The 6 ft something cowboy exited the stage handing his Stetson hat to a young  fan in the front.

Although I was entertained during his set, filled with one liners, and music video clips, I can’t say that I would see Adkins as a headliner in concert. He has much better material than what he sang that night, and never ventured off the beaten path of radio favorites. I would have been just as happy sitting at home watching him on CMT, than venturing out for the live experience. The live excitement was missing.

After a quick bathroom break and a check on the weather, we were back at our center stage row 13^th row seats for the main attraction. A techno remix of some of Martina’s biggest hits began to spin. In front of a white sheer scrim a group of young girls, including all three McBride children danced and launched t-shirts and glow sticks into the crowd.

The girls exited the stage just as a techno remix of “Ride”  played and a slowly growing disco ball began growing in the distance. For a moment I felt I may have been at Cher’s farewell show with remixes and color effects. Martina’s seven member band rose from the stage and as the disco ball gained its full size Martina appeared launching into “Ride.”

Without losing momentum they leapt into hits such as “When God-Fearing Women” “Happy Girl” and her first number one,  “Wild Angels”. The four time CMA Female Vocalist’s voice is just as flawless in concert as on record, if not better.  McBride went into one of her oldest hits with “My Baby Loves Me”  straight into her newest “Wrong Baby Wrong” a upbeat tune on good friends and wine.

Martina took a moment to highlight her 7 piece band, with their rendition of “Lean On Me” complete with vocal highlights from the band mates.

For a quick trip back to Timeless,  Martina and her highly talented band mates gathered center stage for a stunning rendition of Kris Kristofferson’s “Help Me Make It through the Night” followed by her inspiring “Anyway”.

Martina never let the excitement fail with note after note nailed, and the special effects rolling. A highlight of the evening was following the solo of McBride’s new fiddle player on the far left wing of the stage,  on the white scrim that had covered the set a city scene was displayed under the stars.

With the steel guitar in the background the moon rose over the city scene dancing across the sky to the left, as the moon set on the city, McBride rose from the stage sitting in a neon blue crescent moon while serenading the heartbreaking “Concrete Angel.”

The moon flew across the audience and right over my head, reaching a second stage directly behind my seats. Fans rushed the stage for a brief front row seat as Martina introduced an album track that she loves, but claims probably won’t be a single: “I’m Trying.” In classic McBride fashion, she dropped to her knees for the climax of the tale of an alcoholic man and the unrelenting love of his wife. From her mini stage she sang a combined mix of “Loves the Only House” and “Blessed.”

She exited the stage belting out “This Ones For the Girls” as she met with many of the fans on her way back to the stage through the aisles of the venue.

Once back at the main stage and after another album cut “You’re Not Leaving Me”  it was time for what the power house was truly known for, hitting notes that few artists dare tackle. Switching out “Where Would You Be” for a rare treat and one of my personal favorites “Whatever You Say.”

With plenty of fluids and and just pure talent Martina reminded every member of the audience what she can do with “Broken Wing” The final note rang out for what felt like an eternity and the crowd went wild. She couldn’t leave the city without the one that took her to all new levels.

“Independence Day” was delivered with full blown emotion and McBride’s now signature mic stand throw she brought down the house. With all the excitement and the feeling of my heart beating out of my chest, I was ready to drag her out for a encore myself when finally reappeared  with Journey’s “Don’t Stop Believing” and Bryan Adams’ “Summer of ’69” complete with a Ben Roethlisberger jersey, a nice touch for any Pittsburgh show.

When all was said and done, and I was walking back to my car I gained an immense appreciation for what I saw put on. The concert was completely over the top and spared no expense, it was something id expect for a artist at the peak of their fame to put on, but Martina and her band still pulls out all the stops and  gives it everything they got for what I truly believe is for the fans. I highly recommend you experience for yourself if they ‘Shine’ their way into your city, and look forward to my next chance.

Trace’s Set List

“I Got My Game On”
“Swing”
“Songs About Me”
“Hillbilly Rich”
“Marry for Money”
“What’s the Big Deal?”
“Chrome”
“Rough and Ready”
“You’re Gonna Miss This”
“Hot Mama”
“Ladies Love Country Boys”
“Honky Tonk Badonkadonk”
ENCORE: “Muddy Water” and “Higher Ground”

Martina’s Set List

“Ride”
“When God Fearin’ Women Get The Blues”
“Happy Girl”
“Wild Angels”
“The Way That I Am”
“Wrong Baby Wrong”
“Lean on Me”
“Help Me Make it Through The Night”
“Anyway”
“Concrete Angel”
“Love’s the Only House/Blessed”
“I’m Trying”
“This One’s For The Girls”
“You’re Not Leaving Me”
“Whatever You Say”
“Broken Wing”
“Independence Day”
ENCORE: “Don’t Stop Believin’” and “Summer of ’69″

Popular music tends to respond to such charged societal circumstances in one of two ways: by confronting the issues and their ramifications head-on, or by cranking up the escapism to drown it all out for a bit. 2009 leaned heavily on the latter course, as the thumping sex-pop of Lady GaGa and the fluttery boy-centrism of Taylor Swift dominated the airwaves and the registers, offering listeners a chance to believe, if only for a few passing moments, that the world was as simple as a ride on a “disco stick” or the defeat of an evil cheer captain.

The tensions were certainly felt in country music, whose mainstream attempted to rally its casual fans against all the fallout by drumming up endless brain-optional reassurances of hometown value, God and gender identity, mostly with the volume at an attention-forcing 11 and the lyrical shrewdness averaging about 3. It made for a remarkably accessible year for that mainstream, but one which fewer fans ultimately cared much about, neutered as it was by its attempts to appease – rather than inspire – the mass public.

But let’s be positive: there were exceptions. For all its white lies and willful ignorances, country music in 2009 still told a great deal of truth. For all the loudness and brashness, the actual chart smashes – “Then”, “You Belong with Me”, “Big Green Tractor”, “Need You Now”, “Consider Me Gone” – were mostly non-exclamatory songs, songs that reflect a cherishing of simple, core ideals: Stability. Support. Romance. Appreciation. And of course, the alternative and independent artists hidden under country’s big tree continued to flourish in their own way, protected by the stability of the music’s thick roots and a less-tainted appreciation for its craft. Kinda like in the first two thirds of Avatar.

The countdown beginning below – our final country music retrospective of the past year and decade – contains albums from every spot on that big tree, from superstars squatting on the apples up top to upstart little sprouts on the middle branches to the legends holding down the withered bark at the base. It has been compiled by combination of equally weighed top-ten lists by Kevin, Leeann, William, Tara and myself, and features commentary from all five of us. Part 2 will come tomorrow, along with our individual singles and albums data. As always, we hope you enjoy the countdown and invite you to share your own top albums in the comments, along with any thoughts you may have as we close the book on 2009, if not on all the issues it brought forth.

- – -

#20
One to the Heart, One to the Head
Gretchen Peters & Tom Russell

Gretchen Peters is best-known as a singer-songwriter, and a successful one at that, having penned the CMA. Song Of The Year “Independence Day” in 1994 and scored a top five hit when Faith Hill recorded her song, “The Secret of Life” in 1999. It is surprising then that, with her seventh album, One to the Heart, One to the Head, she and Tom Russell would release an album consisting almost completely of covers. Reminiscent of Willie Nelson’s penchant for relaxed delivery, One to the Heart, One to the Head flows with subtle emotion and western imagery. – William Ward

#19
Southern Voice
Tim McGraw

He once sang about how he’d do it better in his next thirty years, an early indication that he’d be paying close attention to the seasons of life and the changes that come with them. The best tracks of what is yet another solid McGraw album find him holding on the past for dear life (“Still”), worrying that life is passing him by (“If I Died Today”), and empathizing with those who have already seen life pass them by (“You Had to Be There.”)
- Kevin Coyne

#18
Closer to the Bone
Kris Kristofferson

A masterclass in deep, personal, relatable, evocative country songwriting. Casual listening it ain’t, though, as Kristofferson’s arrangements and singing are too understated to work with anything less than your full attention. Give it. You won’t regret doing so, especially at the end, when Kris whips out the first song he ever completed (at age eleven), a charmer called “I Hate Your Ugly Face.” – Dan Milliken

#17
Defying Gravity
Keith Urban

Somebody’s in love. If Urban’s last album chronicled his descent into addiction, this one is the soundtrack of his own personal redemption. He’s giving thanks to the woman who brought him back from the edge and singing about love and happiness with the giddiness of a much younger man. – KC

#16
Hillbilly Goddess
Alecia Nugent

Hillbilly Goddess is a  first-rate album that went largely unnoticed, which would be unfortunate in any year, but is positively bewildering in a weaker year such as 2009. Tastefully produced by Carl Jackson, who also produced Joey + Rory’s debut album, along with the highly-acclaimed tribute to the Louvin Brothers, Hillbilly Goddess is treated with spare acoustic country arrangements (with splashes of bluegrass for good measure) that serve to accentuate  Nugent’s clear voice and songs rather than overpower them. Particularly if you like the production of the Joey + Rory album or Bradley Walker’s Highway of Dreams, Hillbilly Goddess’ arrangements will appeal to you as well. This third album is Nugent’s strongest to date both in sound and songs. – Leeann Ward

#15
Twang
George Strait

Easily among the most interesting moments in this legend’s very large catalog, chock full of typically solid material plus a previously unheard boldness befitting a man now willing to stick his tongue out on an album cover. He’s nearly sixty years old and still sounds more alive on highlights like “Hot Grease and Zydeco” and “El Rey” than most of his younger radio peers. Tway-yay-yang on, sir. – DM

#14
It’s Time
Amy Dalley

It was time a long time ago, actually. I’d call Dalley the most promising female singer-songwriter that mainstream country had a chance of embracing this decade. Thankfully, she’s included some of her best songs from her unreleased Curb album (“Let’s Try Goodbye”, “Talk.”) The rest of the album is up to par with those cuts, and quite a few surpass them. – KC

#13
Still Your Man
Paul Burch

He’s a new discovery for many of us at CU, but D.C. native and Nashville favorite Paul Burch has been releasing solid album after solid album since the late 90′s. His latest effort is a sparsely-arranged, unpushy meeting of jukebox pop, Bakersfield twang, and delicate crooning, the kind of effortlessly retro work you can imagine Justin Townes Earle getting totally jealous about. With more muscular production, most any of these songs could be standout cuts on other artists’ albums. – DM

#12
American Saturday Night
Brad Paisley

Every once and awhile we’re reminded that there are country “stars” in Nashville who deliver fresh, relevant and exciting music – music that’s as steep with artistic integrity as it is with commercial viability. American Saturday Night is the best recent example, a fine piece of musicianship that, for all its twisted wit, radiates with a sharp, mature perspective. It’s Paisley’s most cohesive album yet, which means some of the enjoyable off-the-cuff-type tracks of the earlier albums have been trimmed; but where the album lacks in diversity, it compensates with character and notable ambition, as on the progressive “Welcome to the Future.” The interesting thing about Paisley is that he places no more weight on songs lined with social commentary than he does on songs that capture everyman emotion (the fantastic “Everybody’s Here”), or songs that are just plain silly (“Water”?). Each seems to be crafted with the same level of ownership and keenness, and the result is an engaging album that has something to say, from start to finish. – Tara Seetharm

#11
Whatcha Gonna Do
Claire Lynch

Grammy nominee and IBMA award winner Claire Lynch was performing progressive bluegrass well before its recent commercial expansion, experience that serves her well on her latest album, Whatcha Gonna Do. Produced by Lynch herself, Whatcha Gonna Do is an eclectic gathering of well-written material that ranges from the unrecorded “A Canary’s Song,” co-written by Garth Brooks, to the more traditional “My Florida Sunshine,” written by Bill Monroe. Perhaps most impressive is Lynch‘s “Woods of Sipsey,” a haunting song written for her grandmother-in-law that shows the extent to which she continues to be a progressive voice in acoustic music. – WW

First up is the Daily Deal, the Avett Brothers’ excellent 2007 set Emotionalism, going today for $1.99. This group kind of defies genre classification, but they have enough of an earthy quality to their music to make them appeal to all lovers of traditional music. They’re building quite a following, too.

Available for $4.99:

Trace Adkins‘ Dangerous Man, featuring the well-liked “I Wanna Feel Something” and the divisive “Honky Tonk Badonkadonk.”

Taylor Swift‘s self-titled debut, featuring “Our Song”, “Teardrops on My Guitar”, and all that. This version includes the tracks that were added for the “ultimate” or “platinum” edition or whatever, including the infectiously sweet-natured pop-rocker “I’m Only Me When I’m With You.”

Kris Kristofferson‘s latest, Closer to the Bone. A great, intimate album which has already landed on a few best-of-2009 lists, including that of site compadre C.M. Wilcox.

Sebastopol, the debut solo offering from Jay Farrar of Uncle Tupelo and Son Volt fame. Not gonna lie – I haven’t heard the album. But if it’s like Farrar’s work in those two groups, it’s gotta be pretty good alt-country.

Rosanne Cash‘s Rules of Travel, featuring one of our Top 20 singles of the decade, “September When It Comes.”

Deer Tick‘s Born on Flag Day. Another left-field entry I haven’t heard, but which has drawn some acclaim from the alt-country crowd, such as those who contributed to the inaugural Bird List.

Willie Nelson‘s 20th Century Masters Christmas Collection. Featuring his classic original “Pretty Paper,” plus his interpretations of Christmas standards.

Toby Keith’s American Ride, featuring that special title track and prettier current single “Cryin’ For Me (Wayman’s Song).”

And finally, A Christmas Together, by John Denver & The Muppets. You know you love it.

#50
Kathy Mattea, Right Out of Nowhere

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”

#49
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”

#48
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”

*Credit for linked parody cover: Farce the Music.

#47
Faith Hill, Fireflies

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”

#46
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

Recommended Tracks: “Without You”, “Two Hearts”, “These Broken Hearts”

#45
Carrie Underwood, Play On

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”

#44
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”

#43
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”

#42
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”

#41
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”

- – -

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

The 100 Greatest Albums of the Decade, Part 2

#90
Miranda Lambert, Kerosene

On her first major-label album, Lambert reveals herself as a fiery, spirited artist with a lot to say, and a clever voice with which to speak. Her sharp songwriting skills, though a work in progress as we’d later learn, take her naturally from aggression to desolation and back again. But most notably, through Kerosene, Lambert got the traditionalists to pay a little more attention to mainstream country music and its more promising artists. – Tara Seetharam

Recommended Tracks: “Kerosene”, “I Can’t Be Bothered”

#89
Kris Kristofferson, This Old Road
This Old Road has not have received as much mainstream attention as Kristofferson’s recent appearance in Ethan Hawke’s Rolling Stone article; an unfortunate fact, given it was the legendary writer’s first album of new material in 11 years. With This Old Road, Kristofferson shines a spotlight on the world much in the same his earlier writing shined a spotlight on himself. The result is an overtly political album with more depth than most modern attempts have been able to produce. – William Ward

Recommended Tracks: “The Last Thing to Go”, “Pilgrim’s Progress”

#88
Guy Clark, Workbench Songs

The recordings  of the songs that Guy Clark, one of country music’s most respected modern songwriters, has written for the most popular artists in country music are typically polished by the best Nashville musicians and slick producers. But Clark’s own albums tend to be more organic, with spare instrumentation that somehow manages to avoid sounding anemic as a result. His well worn voice sings these eleven melodically and lyrically strong songs with warmth and the kind of emotion that easily captures the listener. It’s one of the best albums of his deep catalog that spans over thirty years. – Leeann Ward

Recommended Tracks: “Walkin’ Man”, “Expose”

#87
Wynonna, What the World Needs Now is Love

It’s hard to believe that it’s been six years since Wynonna’s last proper studio album. This collection is easily one of her best, with effective covers like “I Want to Know What Love Is” and “Flies On the Butter”, along with socially conscious material that provokes thought instead of pandering to already held beliefs (“It All Comes Down to Love”). – Kevin Coyne

Recommended Tracks: “Sometimes I Feel Like Elvis”, “Rescue Me”

#86
Lee Ann Womack, I Hope You Dance

The massively successful title track powered this album to triple platinum, but it also overshadowed the excellent songs surrounding it. For those who explored the album beyond track two, there were some of Womack’s finest moments on record, as she had the good taste to plunder the catalogs of Bruce Robison (“Lonely Too”), Bobbie Cryner (“Stronger Than I Am”), Julie Miller (“I Know Why the River Runs”), and Rodney Crowell (“Ashes By Now”). – KC

Recommended Tracks: “Lonely Too”, “Does My Ring Burn Your Finger”

#85
Chris Thile, How to Grow a Woman From the Ground

This is the first album from the band that would eventually become Punch Brothers. Garnering a Grammy Award Nomination in 2006, How to Grow a Woman From the Ground is a solid bluegrass album with classical sensibilities and extraordinary instrumentation. – WW

Recommended Tracks: “Wayside (Back in Time)”, “Dead Leaves and the Dirty Ground”

#84
Ralph Stanley II, This One Is Two

Hyperbole alert, but it’s hard to think of a more beautiful-sounding traditional country album from this decade, or one which more comfortably merges old school aesthetics with modern production polish. Stanley corralled a number of meaty story songs here, but it’s the combination of his warm baritone and the lush instrumentation that gives this gem its quiet strength. – Dan Milliken

Recommended Tracks: “Cold Shoulder”, “They Say I’ll Never Go Home”

#83
Various Artists, Livin’ Lovin’ Losin’: Songs of the Louvin Brothers

Tribute albums too often feel redundant, as well-meaning artists deliver nice but forgettable imitations of classic records. Not so with the Louvins’, which sticks veteran and current artists alike on the Bros’ close harmonies and sees each intriguing combination (Pam Tillis and Johnny Cash? Why not!) triumph. I daresay it’s as good an introduction to the duo’s work as any compilation of their own recordings. – DM

Recommended Tracks: “How’s the World Treating You?”, “Are You Teasing Me”

#82
Todd Snider, The Excitement Plan

Snider mostly avoids both political themes and complex arrangements on his latest record, emphasizing his greatest strength as a writer instead: his uncanny ability to make the most specifically personal have universal resonance. Listen out for a wonderful cameo from Loretta Lynn on “Don’t Tempt Me.” – KC

Recommended Tracks: “Barefoot Champagne”, “Money, Compliments, Publicity (Song Number 10)”

#81
Mark O’Connor, Thirty-Year Retrospective (Live)

Mark O’Connor’s Thirty Year Retrospective is a double instrumental album of his live performance with Chris Thile, Bryan Sutton and Byron House.  The album covers a wide range of Mark O’Connor’s career, presenting a range of instrumental country, bluegrass, new grass and jazz with the detail and care often only applied to classical music. – WW

Recommended Tracks: “Caprice No. 4 in D Major”, “Macedonia”

- – -

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

Then, in 1988, the rock world hit the jackpot when superstars George Harrison, Tom Petty, Roy Orbison, Bob Dylan and Jeff Lynne formed The Traveling Wilburys. Again, these immensely famous, talented and respected people formed a super group that still seems too good to be true to this day. Their unbelievable union created two albums that were repackaged in 2007 with bonus material, which sold surprisingly well for a reissue. Like The Highwaymen, their voices blended amazingly well together as if they were meant to be a group.

Dolly Parton has been a part of two dynamic trios: one with Linda Rhonstadt and Emmylou Harris and the other with Loretta Lynn and Tammy Wynette. Both trios consisted of women equally as talented as the super groups previously discussed, which also provided us with excellent albums as a result.

And of course, anyone who has read anything that I’ve written in the past year or so should instinctively know that my pet super group is The Notorious Cherry Bombs, which was comprised of Rodney Crowell, Vince Gill, Tony Brown, Hank Devito, Richard Bennett, Michael Rhodes, John Hobbs and Eddie Bayers.

As I think of the competitive climate of the music industry today, I’m discouraged to think that such super groups would be next to impossible to unite anymore. Record label disputes prevented Tracy Lawrence’s collaboration with Kenny Chesney and Tim McGraw to be officially released to radio. Likewise, Reba McEntire had to replace Kenny Chesney’s vocals with lesser known artist, Skip Ewing, in order to release “Every Other Weekend” to radio. And these were only disputes over single songs, not even an entire album.

In true essay style form: Without considering record company politics, if you were able to create your own super group who could make at least one album, who would be the members? What would you name the group? Explain.