Country Universe – A Country Music Blog

Top Twenty Albums of 2011, Part Two: #10-#1

Saturday, December 31st, 2011

Our annual list concludes with a look at our ten favorite albums of 2011.

Check out Part One to see #11-#20, and look for our countdown of the year’s best singles tomorrow.

Top Twenty Albums of 2011, Part One: #10-#1

#10
Lady & Gentlemen
LeAnn Rimes

On the surface, Lady & Gentleman is a concept album, flying in the face of a genre whose gender bias sometimes feels like the elephant in the room. But as with the best concept albums, it’s not the concept that carries it. With her most thoughtful, vocally mature performances to date, Rimes herself is the heartbeat of the set, deftly navigating the songs with a blend of reverence and fearlessness.

And she has plenty of room to shine: rather than trying to rebirth a collection of classics, Rimes and her team tastefully reinvigorate the songs with production risks (“Swingin’”), lyrical twists (“Good Hearted Women”) and the occasional overhaul (“When I Call Your Name”). The result is an album that stands neither as a tribute nor as a statement, but as a unique body of work that earns its merits all on its own. – Tara Seetharam

Individual Rankings: Tara – #2; Ben – #8; Leeann – #9; Kevin – #10

Recommended Tracks: “Blue,” “Wasted Days and Wasted Nights,” “He Stopped Loving Her Today”

#9
KMAG YOYO
Hayes Carll

Texas has a long track record of producing talented, innovative songwriters, and The Woodlands native Carll is one of the best of his generation. With an eye for detail and a wry sense of humor, Carll proves to be a sympathetic narrator as he bemoans his fate in dealing with politics, the economy and relationships. And just when you think he’s pure smartass, he breaks out his sincerity with a song like “Grateful for Christmas.” – Sam Gazdziak

Individual Rankings: Sam – #1; Dan – #2

Recommended Tracks: “Stomp and Holler”, “Another Like You”, “Bottle in My Hand”

#8
American Folk Songbook
Suzy Bogguss

Over the last two decades, Suzy Bogguss has ably covered a lot of musical ground, including classic country, western swing, pop country, adult contemporary and jazz. With the unplugged American Folk Songbook, she is able to add folk to the list. This expansive 17-track set of traditional folk songs is the most stunning of her genre specific projects.

Without a misstep on the album, it finds Bogguss firmly in her element as both an effortless singer and adept song interpreter. What’s more, Suzy’s crystal clear voice blends perfectly with her own crisp, engaging productions. – Leeann Ward

Individual Rankings: #1 – Leeann; #1 – Ben

Recommended Tracks: “Shenandoah”, “Johnny Has Gone for a Soldier”, “Swing Low Sweet Chariot”

#7
Lorraine
Lori McKenna

A somber coffeehouse album, which admittedly makes for a bit of a plodding listen-through. Hang around, though; McKenna is chronicling the experience of the working-class family woman with the kind of depth and character we usually associate with people named Dolly and Merle. And like those forebears, she transcends her persona by finding the universal in it: “My life is pieces of paper that I’ll get back to later,” the key line of “The Most,” could be the lament of anyone trying to manage in the real world. - Dan Milliken

Individual Rankings: #1 – Kevin; #1 – Dan; #7 – Ben

Recommended Tracks: “The Luxury of Knowing”, “The Most”, “Still Down Here”

#6
Barton Hollow
The Civil Wars

It’s almost scary how this duo just seems to get everything right. The level of emotional connectivity in their performances, not to mention their ethereal harmonies and stellar songwriting, is absolutely spellbinding. Just listen to the way they can repeat the refrain “I don’t love you, but I always will” in “Poison & Wine” such that each repetition successively rises in passion and urgency.

While they will most likely never be mainstream country stars, one would certainly hope that the excellent Barton Hollow is not the last we will hear from The Civil Wars. – Ben Foster

Individual Rankings:#4 – Kevin; #4 – Ben; #7 – Tara; #8 – Leeann; #8 – Dan

Recommended Tracks: “Poison & Wine,” “Barton Hollow,” “Forget Me Not”

#5
Here For a Good Time
George Strait

The best artistic choice that George Strait has ever made is taking more time between albums.  Here For a Good Time is yet another high point in his ongoing 21st century renaissance. He’s tackling, even sometimes co-writing, compelling material that reflects the wisdom and life experience of the most distinguished voice that remains on country radio. – Kevin John Coyne

Individual Rankings: #2 – Kevin; #5 – Leeann; #5 – Tara; #9 – Jonathan; #10 – Sam

Recommended Tracks: “Drinkin’ Man”, “House Across the Bay”, “I’ll Always Remember You”

#4
Four the Record
Miranda Lambert

If Revolution was Lambert’s commercial crowning moment, Four the Record is her earned hissy fit – a foot stomp and a “my turn, folks.” That’s not to say her previous albums weren’t authentic; it’s just that Four the Record seems to be the most transparent reflection of Lambert the artist to date, flaws and all.

And that’s why it soars. Wonderfully weird, the collection of songs is best described as a tapestry of personalities, punctuated by some of the oddest –but coolest– production choices of the year. Where the album lacks in depth of songwriting, it makes up for in fiercely committed, layered performances.

She sneers old school style in “Fastest Girl In Town,” brilliantly spits in her mother’s face in “Mama’s Broken Heart” and eccentrically celebrates diversity in “All Kinds of Kinds.” But the album’s shining moments come in the form of palpable vulnerability: the trio of “Dear Diamond,” “Look at Miss Ohio,” and “Oklahoma Sky” is nakedly honest – the highest country music compliment. – Tara Seetharam

Individual Rankings: #1 – Tara; #3 – Leeann; #4 – Sam

Recommended Tracks: “All Kinds of Kinds,” “Mama’s Broken Heart,” “Dear Diamond”

#3
Guitar Slinger
Vince Gill

At age 54, Vince Gill’s voice shows absolutely no signs of deterioration. Moreover, his artistry continues to be as strong as it has ever been even after almost three-and-a-half decades in the business. Following his critically acclaimed and ambitious project, These Days, a box set of all original songs, Guitar Slinger somehow manages to stand up to Gill’s self-imposed high benchmark of excellence.

In fact, in a way, while this album is fresh, the sound of Guitar Slinger could also be a continuation of These Days, since many of its songs follow the genre variances of its predecessor, including rockers, easy listening and traditional country songs. As evidenced by this album, Gill is still at the top of his game both in musical talent and ability to capture a range of emotions with diverse themes and expert storytelling. – Leeann Ward

Individual Rankings: #4 – Leeann; #6 – Kevin; #6 – Tara; #6- Jonathan; #9 – Dan; #9 – Ben

Recommended Tracks: “The Lucky Diamond Hotel”, “Who Wouldn’t Fall in Love with You”, “Buttermilk John”

#2
The Dreaming Fields
Matraca Berg

Matraca Berg has given us a good portion of country music’s most memorable compositions of the past twenty years, and her first new album since 1997 shows a pen still full of tricks. With a tight set of tracks that includes her own versions of songs recorded by Trisha Yearwood (“The Dreaming Fields”) and Kenny Chesney (“You and Tequila”), Berg displays the same subtle cleverness, instantly relatable emotional conflicts, and insightful perspective that have long been the hallmarks of her work.

She tenderly addresses such themes as spousal abuse (“If I Had Wings”) and the death of a loved one (“Racing the Angels”), but arguably the finest moment comes with the title track’s wistful meditation on the loss of a family farm that has remained for generations. Matraca Berg is nothing short of a musical treasure, and The Dreaming Fields reaffirms her status as the most talented singer-songwriter of her generation. – Ben Foster

Individual Rankings: #3 – Kevin; #3 – Dan; #3 – Ben; #7 – Jonathan; #8 – Tara

Recommended Tracks: “If I Had Wings,” “Racing the Angels,” “The Dreaming Fields,” “Oh, Cumberland”

#1
Hell on Heels
Pistol Annies

For all of the lip-service that contemporary country acts give to the idea that country music tells real stories about real people, precious little country music in 2011 seemed to be about anything at all. Whether jockeying for some kind of authenticity cred that their music just didn’t support or rattling off list after pointless list of rural signifiers without an actual narrative or a greater point to make, many of the biggest country stars of the past year seemed completely divorced from the experiences of the real world around them.

Enter Pistol Annies– ostensibly a one-off side project for Miranda Lambert, Ashley Monroe, and Angaleena Presley– and their debut album, Hell on Heels. Not only is it the finest and most detailed chronicle of the current recession, the album stands as a much-needed reminder of both the depth of insight that country music offers in its best moments and the expertly-crafted escapism country music provides when things get a little too real.

Sure, there’s an element of playing dress-up to what the Pistol Annies are doing, but that fits perfectly with the album’s focus on finding ways to escape from day-to-day drudgery. Songs like “Bad Example” and the tongue-in-cheek, gold-digging title track make it clear that Lambert, Monroe, and Presley are in full control of their charades: The way Presley drawls, “Whistle it, ‘Randy,” at the bridge of “Lemon Drop” should erase any doubt that they’re in on the joke. That sense of fun is reflected in the album’s light-handed production and in the Annies’ winning performances.

That said, a devastating gut-check of a line like, “I’ve been thinking about all these pills I’m taking/I wash ‘em down with an ice cold beer/And the love I ain’t been making,” from “Housewife’s Prayer,” doesn’t happen by accident. What elevates Hell on Heels into an album of real depth is that the Annies realize that escapism only has value when you know exactly what it is you’re trying to escape from.

The color of the bride’s dress in a shotgun wedding, the thrift-store curtains hanging in a house that the landlord owns, the dings and dents in the side of a trailer: Pistol Annies get all of these details right, and they employ them with both a swagger they can actually back up and a sense of purpose that speaks to something greater than simply proving their country bona fides. – Jonathan Keefe

Individual Rankings:#2 – Jonathan; #3 – Tara; #6 – Ben; #7 – Kevin; #7 – Leeann; #7 – Dan; #9 – Sam

Recommended Tracks: “Lemon Drop,” “Beige,” “Housewife’s Prayer,” “Takin’ Pills”

Album Review: LeAnn Rimes, Lady and Gentlemen

Tuesday, September 27th, 2011

LeAnn Rimes

Lady and Gentlemen

A new covers album from LeAnn Rimes would likely draw comparisons to her 1999 self-titled effort, which found her covering the likes of Hank Williams and Patsy Cline.  But this time, there’s a twist:  All of the songs she’s covering were originally recorded by male artists.  Thus, Rimes is re-interpreting them in a female perspective.

And while 1999′s LeAnn Rimes album might have given you a feeling that you were listening to really good karaoke singer, as her versions seldom strayed far from the originals, Rimes’ new collection Lady and Gentlemen finds her taking substantial liberties with these classic hits.  She even alters lyrics on Waylon Jennings’ “Good Hearted Woman” and “Only Daddy That’ll Walk the Line” (re-titled as “The Only Mama That’ll Walk the Line”).  The songs are given modern, yet reverent, production arrangements, with Rimes adding her own personal style to each one, resulting in a uniquely creative effort.

Besides the obviously strong song material, what really makes Lady and Gentlemen a keeper is the fact that, although she covers everyone from Jennings to Jones to Haggard, the project remains first and foremost a LeAnn Rimes album.  She sounds entirely in her element – After all, she grew up listening to these songs – and the result is a strong set of performances that sound natural, sincere, and unaffected.

Rimes and her co-producers Vince Gill and Darrell Brown craft arrangements that sound simultaneously vintage and modern, never treating the songs as museum pieces.  The albums kicks off with Rimes’ cover of John Anderson’s “Swingin,” which was released as the project’s first single last year.  Though it barely made a ripple on the charts, it easily ranked as one of the best singles of the year.

While everything about the original Anderson recording screamed “eighties,” LeAnn speeds up the tempo, and transforms the über-cheesy hit into a modern-day jam session.  In listening to Rimes’ vocal delivery, you’d think she chugged down a pot of espresso before heading into the recording studio.  Like an auctioneer at the county fair, Rimes calls out the verses in rapid-fire succession, while the band furiously plucks away behind her.

The better part of the album finds Rimes backed with simple acoustic and steel guitar-driven arrangements, such as on the Freddy Fender cover “Wasted Days and Wasted Night” – worth hearing for her Spanish accent alone.  She utilizes a similar sonic approach on Merle Haggard’s “I Can’t Be Myself,” notable also for a vocal that sounds deeply plaintive, while also casting a feminine tone over the classic lyric.  While her version of Tennessee Ernie Ford’s “16 Tons” carries a deep retro vibe, she adds an extra layer of sass to the lyric, which makes the song one of the album’s most interesting tracks.

She deviates from the vintage approach with her cover of Vince Gill’s “When I Call Your Name,” and instead puts a blue-eyed country soul spin on the nineties hit.  Such an approach accents the deep bluesy tone in her voice, but the unnecessary addition of a gospel choir distracts from the raw emotion that came through in Gill’s original recording.  Though interesting, her take on “When I Call Your Name” is less satisfying than many of the album’s other tracks.

Perhaps the song that gives her the biggest shoes to fill is the classic Bobby Braddock/ Curly Putman composition “He Stopped Loving Her Today,” a hit for George Jones in 1980, and widely regarded as the greatest country song of all time.  Appropriately, Rimes and Gill’s approach places the classic lyric front and center, with no superfluous bells or whistles.  Rimes is backed by little more than an acoustic guitar as she recounts the dark tale of a man who loved his woman until the very end, even when his love was no longer requited.  She gives a remarkably moving performance of the familiar ballad, even when delivering the spoken-word portion.  Vince Gill adds his distinctive harmony touch to the track, and the result sounds absolutely haunting, making “He Stopped Loving Her Today” a strong contender for being the album’s best track.

The album closes with the original songs “Crazy Women” and “Give,” both of which have seen release as singles.  “Crazy Women” sounds like something out of a Broadway musical (or a Laura Bell Bundy album, for that matter), and Rimes deftly pulls it off with a broadly entertaining performance of the wickedly snarky tune.  Current single “Give” returns Rimes to a fully modern pop-country style.  While the philosophical song – a call for proactivity and benevolence in the world – is a strong composition, the musical styling is an awkward fit for an album that is largely retro in style.  It’s a good song – It just sounds like it belongs on a different album.

As a special treat for her fans, Rimes offers a re-recorded version of her classic 1996 debut single “Blue,” commemorating the fifteen-year anniversary of the song’s release.  The new version sounds even more traditional than the original, which is saying a lot, while also displaying Rimes’ growth as a vocalist and lyrical interpreter.  She gives a performance with more restraint than the original, connecting with the underlying emotions on an even deeper level than before, while the simpler, twangier arrangement highlights the timeless nature of the Bill Mack composition.  It’s impressive to note the ease with which “Blue” fits in among all these revered classics.  As one who’s known and loved the song “Blue” for years, I do not say this lightly:  The new version of “Blue” rivals the original.

A binding thread running throughout the set is the palpable reverence Rimes displays for these songs, which makes Lady and Gentlemen one of the most intriguing and wholly satisfying releases of 2011, and of Rimes’ own career output.  It all comes together so well that the project’s success seem perfectly natural.  LeAnn Rimes is a great singer, and these are great songs, so in her tackling these timeless tunes, it logically follows that a great album would result.

iPod Playlist: Originals And Covers

Thursday, July 14th, 2011

As I’m sure the rest of you do, I make playlists all the time. Many of them are lists of individual artists, but some of them have a concept.

My latest playlist is of covers. First, I have the original version (or the one that’s famous for being the original) followed by my favorite cover of it. My only rule is that I have to like both versions. So, songs where I like the cover but not the original won’t make the list.

I’ll share a sampling of what I have so far, as long as you share your latest or greatest concept playlist in the comments:

1. Buddy Miller, “Somewhere Trouble Don’t Go” (Miranda Lambert)
2. Hank Williams, “Hey, Good Lookin’” (The Mavericks)
3. Elvis Presley, “Suspicious Minds (Dwight Yoakam)
4. Dolly Parton, “Coat of Many Colors (Shania Twain/Alison Krauss)
5. Waylon Jennings, “Dreaming My Dreams with You” (Alison Krauss and Union Station)
6. Johnny Cash, “Understand Your Man” (Dwight Yoakam)
7. Merle Haggard, “The Way I Am” (Alan Jackson)
8. John Prine, “That’s the Way the World Goes ‘Round” (Miranda Lambert)
9. John Anderson, “Swingin’” (LeAnn Rimes)
10. Buddy Miller, “Don’t Tell Me” (Alicia Nugent)
11. Kasey Chambers, “Pony” (Ashley Monroe)
12. Tammy Wynette, “Stand by Your Man” (Dixie Chicks)
13. Bill Monroe, “Blue Moon of Kentucky” (John Fogerty)
14. Conway Twitty, “Goodbye Time” (Blake Shelton)
15. Hank Williams, “I Saw the Light” (Blind Boys of Alabama/ Hank Williams Jr.)
16. Bob Dylan, “Shelter from the Storm” (Rodney Crowell/Emmylou Harris)
17. Merle Haggard, “Today I Started Loving You Again” (Buddy Jewell/Miranda Lambert)
18. Nitty Gritty Dirtband, “Fishing in the Dark” (Garth Brooks)
19. The White Stripes, “Dead Leaves in the Dirty Ground” (Chris Thile)
20. Al Green, “Lets Stay Together” (John Berry)
21. David Allan Coe, “You Never Even Called Me by My Name” (Doug Supernaw)
22. The Decemberists, “Shankill Butchers” (Sarah Jarosz
23. Steve Earle, “My Old Friend the Blues” (Patty Loveless)
24. Eric Clapton, “Lay Down Sally” (Delbert McClinton)
25. Fred Eaglesmith, “Time to Get a Gun” (Miranda Lambert)
26. Dolly Parton, “Jolene” (The White Stripes)
27. Johnny Cash, “I Still Miss Someone” (Suzy Bogguss)
28. Pearl Jam, “Better Man” (Sugarland)
29. Kris Kristofferson, “From the Bottle to the Bottom” (Dierks Bentley/Kris Kristofferson)
30. Don Williams, “Lord, I hope this Day is Good” (Lee Ann Womack)
31. Bob Dylan, “Don’t Think Twice, It’s all right” (Randy Travis)

Single Review: LeAnn Rimes, “Give”

Thursday, June 2nd, 2011

God Bless LeAnn Rimes.

She already put her own spin on the serenity prayer with her underrated gem “What I Cannot Change.”  Now she’s giving Gandhi a run for his money.

“Be the change you want to see in the world.”  It’s really that simple.

I really like her philosophical side.  For all the media tries to portray her as a caricature, she’s got the goods.  “Give” is just the latest in a long string of very good singles.

Can we get a new album now?

Grade: B+

Listen: Give

Grammy Awards 2011: Staff Picks & Predictions

Saturday, February 12th, 2011

It’s hard to believe, but it’s that time of year again: the 2011 Grammy Awards air this Sunday at 8 p.m. Eastern. Country music has its hand in the Grammy pot via major nominations for Lady Antebellum, performances by Miranda Lambert, Lady A and Martina McBride, and appearances by Keith Urban, Zac Brown, Blake Shelton and Kris Kristofferson. We’ve picked and predicted the awards below – chime in with your own thoughts, and stop by on Sunday night for our live blog!

Album of the Year

Should Win

• Arcade Fire, The Suburbs - Dan
• Eminem, Recovery - Kevin, Tara
• Lady Antebellum, Need You Now
• Lady Gaga, The Fame Monster
• Katy Perry, Teenage Dream

Will Win

• Arcade Fire, The Suburbs
• Eminem, Recovery - Kevin, Dan, Tara
• Lady Antebellum, Need You Now
• Lady Gaga, The Fame Monster
• Katy Perry, Teenage Dream

Kevin: In a field of newer artists, Eminem is the established veteran that is overdue for this award. It helps that he also made the best album of his career, as well as of the five nominees.

Dan: I could actually see Lady A coming out on top, since they’ve moved a lot of units and are the least divisive act here. But Recovery was a big comeback, and NARAS likes to use this award as a lifetime achievement thing. I don’t like that tendency, though; I’d rather we just reward the best set. To me, that was Arcade Fire’s ambitious concept album.

Tara: I really respect The Suburbs and really dig Recovery. Both are deserving, but Eminem probably has the edge with NARAS for the reasons stated above. (PS – I’m still not over it. TEENAGE DREAM?)

Record of the Year

Should Win

• B.O.B featuring Bruno Mars, “Nothin’ On You”
• Eminem featuring Rihanna, “Love the Way You Lie”
• Cee Lo Green, “F*** You” - Dan, Tara
• Jay-Z featuring Alicia Keys, “Empire State of Mind” - Kevin
• Lady Antebellum, “Need You Now”

Will Win

• B.O.B featuring Bruno Mars, “Nothin’ On You”
• Eminem featuring Rihanna, “Love the Way You Lie”
• Cee Lo Green, “F*** You”
• Jay-Z featuring Alicia Keys, “Empire State of Mind”
• Lady Antebellum, “Need You Now” - Kevin, Dan, Tara

Kevin: Perhaps it’s an instinctual reaction as a native New Yorker, but I still get chills every time I hear “Empire State of Mind.” Jay-Z’s casual “Long live the World Trade” in the second verse perfectly captures how our city moved briskly forward after 9/11 like we always do, but we haven’t forgotten it.

No Urban or Hip-Hop record has ever won this award, so it pains me to predict that Lady Antebellum will triumph over four better records. I hope I’m wrong.

Dan: Cee Lo’s viral novelty hit was one of last year’s biggest delights. I could see this award going to any track but “Nothin’ On You,” but suspect voters will probably go with the least edgy track.

Tara: I could make an argument for four of the five songs here, but I can’t peel myself away from Green’s personality-packed throwback hit that practically begs you to love it. And do I. I agree with Dan and Kevin, though, that Lady A will take this.

Song of the Year

Should Win

• “Beg, Steal, or Borrow” – Ray LaMontagne
• “F*** You!” – Brody Brown, Cee Lo Green, Philip Lawrence & Bruno Mars
• “The House That Built Me” – Tom Douglas & Allen Shamblin - Kevin, Tara
• “Love the Way You Lie” – Alexander Grant, Skylar Grey & Marshall Mathers
• “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Will Win

• “Beg, Steal, or Borrow” – Ray LaMontagne
• “F*** You!” – Brody Brown, Cee Lo Green, Philip Lawrence & Bruno Mars
• “The House That Built Me” – Tom Douglas & Allen Shamblin – Kevin, Tara
• “Love the Way You Lie” – Alexander Grant, Skylar Grey & Marshall Mathers
• “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Kevin: I think the biggest hurdle for “The House That Built Me” was getting the nomination. It really stands out in this field. It used to be rare for the Song victor to not be nominated for Record, but it has happened three times in the last seven years, including last year.

Tara: I’d honestly be happy to see any of these songs win. I’ll back “The House That Built Me” and just take a guess that the voters will, too.

Best New Artist

Should Win

• Justin Bieber
• Drake
• Florence + the Machine
• Mumford & Sons - Dan, Kevin, Tara
• Esperanza Spalding

Will Win

• Justin Bieber
• Drake – Kevin, Dan, Tara
• Florence + the Machine
• Mumford & Sons
• Esperanza Spalding

Kevin: I dig Mumford & Sons the most, but Drake seems to be the guy to beat.

Dan: I think Mumford has the most potential going forward. They’re got a dark-horse shot at the win, too, though Drake does seem like the most logical choice. Bieber’s by far the biggest name right now, but NARAS didn’t give it to tween-fave forerunners Hanson or Jonas Brothers, so…

Tara: Ditto. Although I have an unexplainable inkling that the Bieber might nab the award.

Best Country Album

Should Win

• Dierks Bentley, Up on the Ridge – Kevin, Tara, Leeann
• Zac Brown Band, You Get What You Give
• Jamey Johnson, The Guitar Song - Dan
• Lady Antebellum, Need You Now
• Miranda Lambert, Revolution

Will Win

• Dierks Bentley, Up on the Ridge
• Zac Brown Band, You Get What You Give
• Jamey Johnson, The Guitar Song
• Lady Antebellum, Need You Now – Dan
• Miranda Lambert, Revolution - Kevin, Tara, Leeann

Kevin: I think Bentley made the best record, and perhaps the slew of collaborators will help raise its profile with voters. Usually the country album nominated for overall Album wins this award, but I’m thinking that Lambert’s recent awards streak will continue here.

Dan: I pick Johnson by a nose, but genuinely like every album here besides Need You Now. Hoping Kevin’s right about that one.

Leeann: Like Kevin said, Bentley deserves to win and I hope he does, but I think Lambert’s album may win due to accessibility and her reputation for artistic integrity.

Tara: Up on the Ridge and Revolution both hit my sweet spot: they straddle the line between reverent and relevant and make me genuinely excited about country music’s future. Bentley’s album is the better of the two (and the best of the bunch) – but I think Lambert’s will pick up the most votes.

Best Female Country Vocal Performance

Should Win

• Jewel, “Satisfied”
• Miranda Lambert, “The House That Built Me” - Dan, Kevin, Tara, Leeann
• LeAnn Rimes, “Swingin’”
• Carrie Underwood, “Temporary Home”
• Gretchen Wilson, “I’d Love to Be Your Last”

Will Win

• Jewel, “Satisfied”
• Miranda Lambert, “The House That Built Me” - Dan, Kevin, Tara, Leeann
• LeAnn Rimes, “Swingin’”
• Carrie Underwood, “Temporary Home”
• Gretchen Wilson, “I’d Love to Be Your Last”

Kevin: This is Lambert’s best shot at a Grammy. Underwood will threaten, as always, but I think the strength of this song makes it tough to beat.

Leeann: Lambert’s signature song is the strongest and likely most long-lasting of the bunch.

Tara: Lambert and Underwood turn in two of the most emotive, powerful performances of their careers, but “The House That Built Me” is undeniably the better song. Since Underwood’s Grammy streak seems to be up for now, I think the voters will side with Lambert.

Best Male Country Vocal Performance

Should Win

• Jamey Johnson, “Macon”
• Toby Keith, “Cryin’ For Me (Wayman’s Song)” - Kevin, Leeann
• David Nail, “Turning Home” - Dan
• Keith Urban, “‘Til Summer Comes Around”
• Chris Young, “Gettin’ You Home (The Black Dress Song)”  - Tara

Will Win

• Jamey Johnson, “Macon”
• Toby Keith, “Cryin’ For Me (Wayman’s Song)”
• David Nail, “Turning Home”
• Keith Urban, “‘Til Summer Comes Around” - Dan, Kevin, Tara, Leeann
• Chris Young, “Gettin’ You Home (The Black Dress Song)”

Kevin: I am not going to complain about Urban winning again for my favorite single from his last two albums. But Toby Keith is way overdue in this category, and he’s nominated for one of his best vocal performances to date.

Dan: Nail’s nuanced performance brought what could have been a very rote song to life. And his career could use the boost.

Leeann: I think the Grammy voters will reflexively give the award to Keith Urban, but Toby Keith’s song is the most poignant of the nominees.

Tara: Urban’s got his hold on this category, but I’m in Young’s corner. His slow-burning hit is as charming as it is sexy, which isn’t an easy thing to pull off. And that voice.

Best Duo/Group Country Vocal Performance

Should Win

• Zac Brown Band, “Free”
• Dailey & Vincent, “Elizabeth”
• Lady Antebellum, “Need You Now”
• Little Big Town, “Little White Church”- Tara
• The SteelDrivers, “Where Rainbows Never Die” - Kevin, Leeann

Will Win

• Zac Brown Band, “Free”
• Dailey & Vincent, “Elizabeth”
• Lady Antebellum, “Need You Now” - Kevin, Tara, Leeann
• Little Big Town, “Little White Church”
• The SteelDrivers, “Where Rainbows Never Die”

Kevin: I think it’s a race between Lady Antbellum and Zac Brown Band, with LA in the lead. But the SteelDrivers get the annual “song I discovered because it was nominated for a Grammy and fell in love with after hearing it” award from me.

Leeann: The SteelDriver’s song is my favorite with Little Big Town at a close second, but I suspect that Lady A won’t be shut out for such a hugely popular radio hit across the board.

Tara: Dear NARAS: since “Single Ladies” got screwed over for ROTY last year, please show Little Big Town some love for their crazy awesome countrified version. It’s just as good…maybe even better?

Best Country Collaboration with Vocals

Should Win

• “Bad Angel” — Dierks Bentley, Miranda Lambert & Jamey Johnson
• “Pride (In The Name Of Love)” — Dierks Bentley, Del McCoury & The Punch Brothers
• “As She’s Walking Away” — Zac Brown Band & Alan Jackson – Kevin, Tara, Leeann
• “Hillbilly Bone” — Blake Shelton & Trace Adkins
• “I Run To You” — Marty Stuart & Connie Smith

Will Win

• “Bad Angel” — Dierks Bentley, Miranda Lambert & Jamey Johnson
• “Pride (In The Name Of Love)” — Dierks Bentley, Del McCoury & The Punch Brothers
• “As She’s Walking Away” — Zac Brown Band & Alan Jackson – Kevin, Tara, Leeann
• “Hillbilly Bone” — Blake Shelton & Trace Adkins
• “I Run To You” — Marty Stuart & Connie Smith

Kevin: Best collaboration in a very long time. Love hearing an artist from my youth playing elder statesman so well.

Leeann: It’s difficult for me to imagine that “As She’s Walking Away” won’t be rewarded for both its popularity and the significance of the still active veteran, Alan Jackson, dispensing wisdom to the up-and-coming bright stars of country music in the Zac Brown Band.

Tara: I love the groove of “Bad Angel,” but its collaboration isn’t nearly as dynamic nor as fitting as that of “As She’s Walking Way.” I can’t imagine any “wise man” but Jackson pulling up a stool next to Brown in this song.

Best Country Instrumental Performance

Should Win

• Cherryholmes, “Tattoo of a Smudge”
• The Infamous Stringdusters, “Magic #9″
• Punch Brothers, “New Chance Blues” – Kevin, Leeann
• Darrell Scott, ‘Willow Creek”
• Marty Stuart, “Hummingbyrd”

Will Win

• Cherryholmes, “Tattoo of a Smudge”
• The Infamous Stringdusters, “Magic #9″
• Punch Brothers, “New Chance Blues” - Kevin, Leeann
• Darrell Scott, ‘Willow Creek”
• Marty Stuart, “Hummingbyrd”

Kevin: Punch Brothers are approaching Nickel Creek levels of awesomeness. Possibly exceeding them.

Leeann: Kevin’s right. Even as someone who isn’t typically fond of instrumentals, I dig those of the Punch Brothers.

Best Country Song

Should Win

• “The Breath You Take” — Casey Beathard, Dean Dillon & Jessie Jo Dillon
• “Free” — Zac Brown
• “The House That Built Me” — Tom Douglas & Allen Shamblin - Dan, Kevin, Tara, Leeann
• “I’d Love To Be Your Last” — Rivers Rutherford, Annie Tate & Sam Tate
• “If I Die Young” — Kimberly Perry
• “Need You Now” — Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Will Win

• “The Breath You Take” — written by Casey Beathard, Dean Dillon & Jessie Jo Dillon
• “Free” — written by Zac Brown
• “The House That Built Me” — written by Tom Douglas & Allen Shamblin – Kevin, Tara, Leeann
• “I’d Love To Be Your Last” — written by Rivers Rutherford, Annie Tate & Sam Tate
• “If I Die Young” — written by Kimberly Perry
• “Need You Now” — written by Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Kevin: My heart is owned by “If I Die Young”, but I think that “The House That Built Me” is objectively the best song.

Leeann: While The Band Perry’s song sounds the coolest, the writing for “The House That Built Me” is clear frontrunner for the best song of the year.  It deserves and likely will be recognized as such, especially since it was both very critically acclaimed and successful as a single.

Tara: No question “The House That Built Me” is the best written song of the group, and I think it’ll be recognized as such.

Best Bluegrass Album

Should Win

• Sam Bush, Circles Around Me
• Patty Loveless, Mountain Soul II
• The Del McCoury Band, Family Circle
• Peter Rowan Bluegrass Band, Legacy
• The SteelDrivers, Reckless – Kevin

Will Win

• Sam Bush, Circles Around Me
• Patty Loveless, Mountain Soul II
• The Del McCoury Band, Family Circle – Kevin
• Peter Rowan Bluegrass Band, Legacy
• The SteelDrivers, Reckless

Kevin: Kudos to Loveless for her nomination, but I like the SteelDrivers set more.

Best Americana Album

Should Win

• Rosanne Cash, The List
• Los Lobos, Tin Can Trust
• Willie Nelson, Country Music – Dan, Kevin
• Robert Plant, Band of Joy
• Mavis Staples, You Are Not Alone

Will Win

• Rosanne Cash, The List
• Los Lobos, Tin Can Trust
• Willie Nelson, Country Music
• Robert Plant, Band of Joy
• Mavis Staples, You Are Not Alone - Kevin

Kevin: So I think Staples is nominated for an awesome gospel album and Nelson for an awesome country album. This category is confusing.

A Tale of Four Hits Collections

Saturday, January 1st, 2011

Four generous hits collections were released in 2010, each one chronicling the entire career of a contemporary country music star.  Individually, each double-disc set serve as the most expansive and thorough compilation for each artist. Taken together, they tell the story of country music over the last twenty years.

Alan Jackson
34 Number Ones

In the late eighties, Randy Travis did something that no other country star had done before. He became the top-selling country artist by a wide margin without making any musical concessions to pop or rock. In doing so, he tore up the old playbook. Suddenly, you could be a multi-platinum country artists without the added benefit of top 40 radio or accolades from the rock and roll press.

Thus began contemporary country music, the new paradigm that reached its commercial peak in the nineties, but has never come close to receding to its earlier status as a niche genre. A crop of young stars surfaced in 1989 and 1990, each one of them staking a claim to be the Haggard, the Jones, the Willie, the Waylon of their generation. Out of all of them, none struck a more perfect balance between artistic credibility and commercial viability than Alan Jackson.

Simply put, he is the most significant singer and songwriter of the past quarter century. So it’s no surprise that out of all of the country stars who’ve compiled #1 hit collections, Jackson’s set is the best, both in terms of overall quality and effectiveness in summing up an entire career.

Fact is, radio’s played nearly everything Jackson’s sent their way, and he’s demonstrated remarkably good judgment over the past twenty years. The highest of the high points – “Here in the Real World”, “Don’t Rock the Jukebox”, “Chattahoochee”, “Gone Country”, “Where Were You”, “It’s Five O’Clock Somewhere” – aren’t just great records from their time period. They’re accurate representations as well, little time capsules that show Jackson as being centrally relevant to the genre while he was also making great music.

Today, with critical acclaim and commercial success becoming increasingly divergent pathways, 34 Number Ones serves as a powerful reminder that one need not sacrifice quality for radio airplay. Of the new tracks, Jackson’s cover of “Ring of Fire” doesn’t quite measure up, It’s certainly a competent reading, but Jackson’s already a legend in his own right. Just listen to “As She’s Walking Away”, the duet with Zac Brown Band that serves at the set’s bonus 35th number one. His mere presence elevates the track into greatness.

Tim McGraw
Number One Hits

Jackson’s ascent into superstardom came at the peak of the new traditionalist movement. Tim McGraw got in just under the buzzer, breaking through a year before Shania Twain shifted the course of country music to a distinctively more pop sound. He’s since been able to maintain stardom by going with the flow of these changes.

At his best, few have been better than Tim McGraw, but Number One Hits documents his bookend years as a follower of trends. It’s the songs on either end of his hit run than are the weakest. Whereas Jackson has flirted with banality once in a while, McGraw has openly embraced it. He became a mega-star by alternating shoehorning the five-hankie weepfest “Don’t Take the Girl” between novelty songs like “Indian Outlaw” and “Down on the Farm”, all of which reek of the hat act herd mentality that was heading out of style in 1994.

But McGraw used his clout from those early hits to get access to better material, and his albums soon demonstrated a song sense that was unrivaled among the other new acts of the time, most of whom quickly faded away as pop ascended in the genre. The best of his biggest singles came over the course of the next decade. Classics like “Just to See You Smile”, “Please Remember Me”, “Angry all the Time” and “Live Like You Were Dying” were among the best songs on the radio.

For a while there, he could get just about anything into the top fifteen, but this collection focuses only on the chart-toppers. So instead of fantastic gems like “Can’t Be Really Gone”, “One of These Days”, “Red Ragtop”, and “If You’re Reading This”, this set features quite a bit of forgettable fare that hasn’t aged well. They may have topped the charts, but that doesn’t make “Not a Moment Too Soon”, “She Never Lets it Go to Your Heart”, and the particularly abysmal “Southern Voice” worthy of inclusion in a best-of set.

If they were able to suspend the concept to include a questionable dance remix of the #8 chart hit “Indian Outlaw” and the mediocre new hit “Felt Good on My Lips”, they might as well have just been more generous with the track listing and released The Very Best of Tim McGraw. His music has been far more compelling than this collection shows.

Dixie Chicks
The Essential Dixie Chicks

The explosive crossover success of Shania Twain, LeAnn Rimes, and Faith Hill was in full swing in 1998, which left traditionalists hungering for a superstar alternative. In waltzed the Dixie Chicks, with a combination of musical credibility, traditional roots, and youthful appeal that instantly made them the darlings of the format. Over the course of two albums – 1998′s Wide Open Spaces and 1999′s Fly – they dominated radio, retail and the awards circuit.

Tracks from those two albums combine for fourteen of the thirty tracks of The Essential Dixie Chicks. All of the biggest hits are here, but chart success wasn’t the only determination for inclusion. Thank God for that, as less impressive top ten hits like “Cold Day in July” and “If I Fall You’re Going Down With Me” are left off, with the far more compelling “Heartbreak Town” and “Sin Wagon” in their place.

As good as their first two albums were, it was the 2002 masterpiece Home that truly solidified them as artists for the ages. Released at the height of O Brother mania, the timing couldn’t have been better for this acoustic album. “Long Time Gone”, “Landslide”, and “Travelin’ Soldier” all went top two, and the album swept the country categories at the 2003 Grammy Awards.

And then, the bottom fell out. Poorly chosen words about the president quickly overshadowed Home, and the princesses of country radio suddenly became pariahs, taking the burgeoning roots movement down with them. Radio slamming its door shut is what makes a hit-centered Chicks compilation impossible, and Essential Dixie Chicks wisely chooses to give equal representation to Home and its follow-up, the California country Taking the Long Way.

An excellent job is done of selecting the best album cuts from both collections, an especially difficult task with the latter album. Sure, it won five Grammys and sold well, but the platinum single “Not Ready to Make Nice” was the only real hit. Thankfully, we’re treated to gems like “Top of the World” and “Truth No. 2″ from Home and “The Long Way Around”, “Easy Silence,” and “Lubbock or Leave It” from Taking the Long Way.

And while a case could be made for some great tracks left off – “Godspeed (Sweet Dreams)”, “More Love”, and “Voice Inside My Head” come to mind – everything that’s here is essential listening. Then again, the Chicks could have randomly picked any 30 songs from the four albums represented here and still ended up with a great collection of music, so high has their standard of excellence been all along. How many other superstar country artists could do the same?

Brad Paisley
Hits Alive

If the Dixie Chicks best represent the last gasp of lofty aspiration in mainstream country music over the past twelve years, Brad Paisley best represents the mediocrity the genre was willing to settle for. Rising to fame around the same time as the Chicks, Paisley was similarly touted as a traditional savior for the increasingly pop-influenced genre.

And for more than ten years, he’s lived up to the traditionalist part, rarely flirting with crossover sounds. Much like Alan Jackson, Paisley’s sound hasn’t changed much over time. But unlike Jackson, Paisley’s point of view hasn’t changed much either. He’s been releasing antiseptic, mostly dull radio fodder for most of his career, getting regular radio play with an endless stream of interchangeable love songs and party anthems.

Hits Alive attempts to assess his work to date, and it takes an odd approach. A disc of studio hits is paired with a disc of live recordings of his hits. Figuring out the guiding principle in song selection is near impossible. Some of his signature hits – “I’m Gonna Miss Her”, “Letter to Me”, “Waitin’ on a Woman” – appear only in live form. Songs that practically beg to be livened up, like “Ticks”, “The World”, and “Celebrity” – are only here in their studio incarnations. Bizarrely, “Alcohol” and “Mud on the Tires”, are presented in both forms.

The double dipping means early hits like “Who Needs Pictures”, “Wrapped Around”, “Two People Fell in Love”, and “I Wish You’d Stay” are omitted entirely. That’s a shame, because they’re all better than his string of condescending and slightly misogynist love songs that do make the cut, the worst offenders being “The World” and the jaw-dropping “Little Moments”, the latter providing a list of endearing traits that would be insulting if he was singing about his child, let alone his partner.

Thankfully, many of his best moments are included, most notably “Whiskey Lullaby” and “When I Get Where I’m Going”, two hits that have gone on to become genre standards in the years since their release. Plus, the live disc brings some unexpected treats. “Time Warp” showcases his stunning instrumental talent, while the hits “Water” and “American Saturday Night” truly do come alive on stage, making them sound better here than they did on the radio.

Of the four collections, Paisley’s may be the least impressive, but it’s still a decent representation of one of country music’s last superstars, and it speaks volumes about the creative holding pattern that still paralyzes the genre. Unless the spiritual successors to Alan Jackson or the Dixie Chicks come along, Paisley’s might be as good as it’s gonna get on country radio.

The Best Singles of 2010, Part 3: #20-#11

Wednesday, December 22nd, 2010

Here are the ten singles that were almost the best of the year:

The Best Singles of 2010, Part 3: #20-#11

#20

Crazy Women
LeAnn Rimes

Poised, calculated and ferocious all at once, Rimes’ performance captures the exact persona of the scorned “ex-wives and old girlfriends” she sings of. It’s a wiser, cooler revenge anthem than we’ve heard in awhile, and it takes the crown for the year’s most fabulous opening line: “Who’d have guessed that Aqua Net could start a fire with a single cigarette?” – Tara Seetharam

#19

What Do You Want
Jerrod Niemann

A contemporary spin on the standard country theme of heartache, “What Do You Want” owes its brilliance to its perfect storm of elements: The raw honesty of Niemann’s plea (“I get so tired of living like this/I don’t have the time/Neither do my friends”). The hollow, pulsing arrangement that mirrors his cycle of pain. The killer vocal performance, soaked in emotional fatigue. Each element draws out the potency of the next, culminating in one of the most captivating releases of the year. – TS

#18

Steal You Away
Randy Rogers Band

If you can say anything about Randy Rogers, it’s that he emotes somberness in every note that he sings. In this song, he is tortured by the knowledge that the object of his affection is not properly appreciated by the man that she’s currently with. More than anything, he’d like to steal her away from her loveless relationship, but moral boundaries stop him from carrying out his desire. – Leeann Ward

#17

Kiss Goodbye
Little Big Town

If you love somebody, set them free. Easy to say, maybe even easy to do, but what’s left behind is empty and cold. This powerful song explores that truth with subtlety and sincerity. – Kevin Coyne

#16

Lover, Lover
Jerrod Niemann

I heard Sonia Dada’s Dan Pritzker wrote this goodbye number when his real-life lover forgot to make him a pot of coffee or something. That should give you a good sense of the depth here. But a ditty like “Lover, Lover” is really only about one thing: achieving a compulsive singalong. And it gets that job done ably, even offering equal opportunity for all voice parts with its thick, stacked harmonies. – Dan Milliken

#15

Undo It
Carrie Underwood

Judging from what I’ve heard people say about this song, I don’t think there’s any middle ground on this one. Either turn the radio off in disgust, or turn it up and sing along.  – KC

#14

Still
Tim McGraw

Memories. The very best ones are stripped of all the reality that existed in the moment.  All the irks and irritations and utter banality of every day life fade away in hindsight, and all that’s left is the warm comfort of knowing that in a certain moment of time, you were there and so were they.  There isn’t a reference to Christmas in “Still”, but the holidays make it feel that much more real. Achingly real. – KC

#13

Rain is a Good Thing
Luke Bryan

One of the more charming frat-country hits in recent years, as Bryan celebrates how precipitation in a farm town nourishes both the crops and the spirit. Oh, and helps him get some! Yeah, bro!!! – DM

#12

Swingin’
LeAnn Rimes

It’s always a bold move to try to recapture the novelty of an already dubbed novelty song. Instead of recreating what John Anderson had already done with “Swingin’”, LeAnn Rimes wisely reinvents the tune by ramping things up up with a jaunty, high octane production that dares us to try to sit still. The result is one of the most energetic, free spirited songs of the year. – Leeann Ward

#11

Turning Home
David Nail

High school nostalgia songs are typical these days, but Nail’s soars above most others with a sensitive performance that brings each little detail to life. Annoyingly loud production toward the end keeps the single from home-run territory, but unfortunately that’s pretty typical now, too. – DM

Check out the rest of the list:

• The Best Singles of 2010, Part 1: #40-#31
• The Best Singles of 2010, Part 2: #30-#21
• The Best Singles of 2010, Part 4: #10-#1

Single Review: LeAnn Rimes, “Crazy Women”

Thursday, November 11th, 2010

Apparently wayward men make both honky tonk angels and crazy women, if LeAnn Rimes is to be believed.

This is a very cleverly written song, kicking off with the best opening line in recent memory: “Who’d have guessed that Aqua Net could start a fire with a single cigarette?”

What follows is a wry warning to all men who would underestimate the craziness that might be unleashed by a seemingly tame woman, should you decide to cross her.

Rimes turns in a typically wonderful vocal performance, coming off like an uptown Miranda Lambert.  But then again, what “Crazy Women” could really use is a little more of that Lambert grit.  The backing track lacks the frenetic energy that the lyric demands.

If she had done this a bit more in the vein of her “Swingin’” cover from earlier this year, it could’ve been a career high point.  But it’s a darn good single, nonetheless.

Written by Brandy Clark, Jessie Jo Dillon, and Shane McAnally

Grade: B+

Listen: Crazy Women

400 Greatest Singles of the Nineties: #100-#76

Sunday, August 15th, 2010

Many a star was launched in the nineties, a few of them right out of the gate. This section includes the debut singles from Toby Keith, Jo Dee Messina, LeAnn Rimes, and Doug Stone, along with Grammy-winning hits by Alison Krauss and Dwight Yoakam.

400 Greatest Singles of the Nineties: #100-#76

#100
The Battle Hymn of Love
Kathy Mattea & Tim O’Brien
1990 | Peak: #9

Listen

Wedding songs are typically made of the same fiber, but this one is a little different: it’s energized by burning conviction and fierce pledges. – Tara Seetharam

#99
Blue
LeAnn Rimes
1996 | Peak: #10

Listen

Sure, the novelty of thirteen year-old Rimes’ prodigious Patsy imitation helped things along. But that unshakable yodeled hook would have made “Blue” a classic in any era of country music. – Dan Milliken (more…)

400 Greatest Singles of the Nineties: #275-#251

Tuesday, July 20th, 2010

This section begins with a song about a farmer and his wife and ends with one about Mama. Doesn’t get much more country than this!

400 Greatest Singles of the Nineties: #275-#251

#275
Somewhere Other Than the Night
Garth Brooks
1992 | Peak: #1

Listen

About a woman who only feels truly appreciated by her husband when they’re having sex. Practically literature, that. – Dan Milliken

#274
Looking Out For Number One
Travis Tritt
1993 | Peak: #11

Listen

From his rocking side, Tritt is tired of trying to please everyone around him, including his demanding lover. As a result, he brashly declares that he’s going to make some changes, which will include looking out for himself. Get out of the way, because his ferocious performance makes him seem quite serious about his epiphany. – Leeann Ward (more…)