Posts Tagged ‘Linda Ronstadt’

In Memoriam: Ray Price (1926-2013)

Tuesday, December 17th, 2013

Ray PriceCountry Music Hall of Famer Ray Price has passed away after a battle with pancreatic cancer. He was 87.

Price was instrumental in two of the most significant historical periods in country music, leading the way in both the twin fiddle-dominated honky-tonk of the 1950′s and the Nashville Sound pop crossover sound in the 1970′s.   While it was the former style that was dubbed the “Ray Price Shuffle”, it was the latter style that brought his greatest commercial success.

A touring artist well into his eighties, Price also recorded music right up until his illness, winning a Grammy in 2008 for his collaboration with fellow legend Willie Nelson.

This tremendous loss joins George Jones, Jack Clement, and Jack Greene in the ranks of country music legends who have passed away this year.  2013 also brought the tragic death of Mindy McCready, the near death scare for Randy Travis, and the heartbreaking news that Linda Ronstadt has lost her voice to Parkinson’s.  For country music fans, 2014 cannot come soon enough.

Enjoy two classic Ray Price hits below, one from each of his definitive eras:

“Crazy Arms”:

“For the Good Times”

Linda Ronstadt elected into the Rock and Roll Hall of Fame

Tuesday, December 17th, 2013

Linda Ronstadt TimeCountry-rock pioneer and Country Universe favorite Linda Ronstadt will join the Rock and Roll Hall of Fame next year.

She will enter popular music’s most elite company alongside fellow inductees Nirvana, Cat Stevens, Hall and Oates, Peter Gabriel, and KISS.

Ronstadt was last nominated seven years ago.  During the seventies, Ronstadt was widely regarded as rock’s leading lady, while also commanding respect and success in the country market with her genre-bending Asylum records.

Congratulations to Linda Ronstadt and her fellow inductees.

Enjoy a clip of Ronstadt performing at the Rockpalast Festival in Germany in 1976:

CU Archives: Linda Ronstadt

Sunday, August 25th, 2013

linda-ronstadtWe at Country Universe were very saddened to hear of Linda Ronstadt’s recent announcement that she was diagnosed with Parkinson’s disease eight months ago, and that the disease has resulted in the total loss of her ability to sing.

Though Linda Ronstadt never took up exclusive residence in country territory (or in any one genre for that matter), she had remarkable successes in the country field, including the now-classic Trio project with Dolly Parton and Emmylou Harris, and she served as an important influence for women such as Pam Tillis, Martina McBride and Trisha Yearwood. She has also been the subject of several excellent Country Universe features that are well worth revisiting.

First of all, be sure to check out Kevin’s feature on Ronstadt from the 100 Greatest Women countdown, in which she placed at No. 21.

Then take a look at our reader Erik North’s rundown of his 25 favorite Linda Ronstadt songs from Country Universe’s Favorite Songs by Favorite Artists series.

Finally, see Kevin’s reviews of her classic 1975 album Prisoner in Disguise and of her 2006 compilation The Best of Linda Ronstadt:  The Capitol Years.

Below is a selection of videos of Ronstadt in her prime performing some of her best-loved songs. Without a doubt, she will always be remembered as one of the greatest voices in music history, even if she can no longer use that voice today. Please share your own favorite Linda Ronstadt songs and performances in the comments section.

A Conversation with Katie Armiger

Tuesday, January 15th, 2013

KatieArmigerIn 2007, Katie Armiger released her first album at just 15-years-old after winning a local singing competition in Texas. Since then, she’s had quiet but solid success in the industry, earning four Billboard-charting singles and touring with major artists such as Brad Paisley, Little Big Town, Jason Aldean and Ronnie Dunn. 

Last year, Country Weekly’s readers voted 21-year-old Armiger the “Hottest Bachelorette” for the second consecutive year, just before she appeared on ABC’s dubious reality television show, “The Bachelor Pad.” Ironic events, considering the fellow Sugar Land native has built her image on independence and  empowerment, themes she captures pithily on her first Top 40 hit, “Better in a Black Dress.”

Armiger’s latest album with Cold River Records, Fall Into Me, drops today - but don’t expect a collection of love stories. Its 14 songs depict the highs and lows of love with equal weight,  backed by strong, melodic hooks and Armiger’s character-filled voice. Last month, she took some time to chat with Country Universe about the blend of styles on her new album, being a woman in a male-dominated genre, and the inspiration for her ode to single girls.

Seetharam: Country music has long struggled with a gender bias that’s only now starting to melt. What’s your experience been like as a young female artist in the industry?

Armiger: Oh, I agree. It’s honestly gotten a lot easier as I’ve gotten older. Maybe it just comes with age, but I do feel like the industry has changed. When I first started, it was so male-dominated. Now the doors for females are opening up, and it’s a lot easier as a female artist to get your music out there.

How do you differentiate yourself from the other young female artists that are out there?

That’s a good question. I think everyone has their own style, and I am a singer-songwriter. Everything that I write is very personal – sometimes I wish it wasn’t as personal as it is. And my music is a blend. I tend to write everything. There are so many different types of country music– there’s more traditional, more modern – that you can sing, which is so neat. I try to do a really good blend of that.

I think that’s the constant debate – there are so many influences in country music these days. How do you define country music, or can you?

The thing about country music, regardless of what the sound is like, is that the songs all tell stories. You can listen to any country song, and it tells a story, whether it’s happy or sad. It’s not a song that’s sung without purpose. And that’s what I really love.

Are there any new artists that you find particularly interesting or inspiring?

I’m a really big Hunter Hayes fan. I love his stuff. He’s so talented. I’ve met him, and he’s so friendly. I really think we’re going to see great things from him.

He seems to be rising very quickly. Who are your idols in the industry, or the artists whose careers you admire?

I listened to a lot of Martina McBride growing up, a lot of Patsy Cline, Linda Ronstadt. A lot of very strong female country singers. I definitely try to emulate that. I want to portray strength in my music, and all of those women are very, very strong, dominant personalities. They knew what they wanted, and that’s always what I try to go for.

Speaking of different generations, have you had the chance to catch the show “Nashville”? Does it align with how you perceive the industry, and the way the veterans and newcomers interact?

I haven’t caught everything, but I’ve watched a few episodes. I honestly think it blurs the line. Some of the stuff is a little true – like you watch it and you’re like “OK, I can see that.” There’s definitely drama in the music industry, but not quite to that extent.

I’ve never seen anyone quite like Juliette in country music. Have you come across that kind of attitude?

No. That’s what’s funny. One of the things I love most about country music is that it is such a family thing. Everybody’s friends. Everybody’s super nice. It’s not cutthroat like other industries, and [“Nashville”] makes it seem super cutthroat.

What was is it like to play the Opry for the first time back in 2011?

It was one of the most indescribable things. It’s such an honor to be there, and when you’re singing, you’re just sitting there going, “I’m standing in this spot where all of these people –all of these legends who made country what it is– stood years ago.” It’s surreal.

And you have a dog named “Opry,” right? What’s the story behind that?

My dog at home gave birth, and she was one of the puppies. My stepmom called and was like, “You have to take her!” She was born when they made the announcement in my hometown that I was going to be playing the Opry. At the time, I thought there’s no way that I can keep the dog. I’m too busy – this is not going to work. But as soon as I got home and I saw her, I said, “Well, I don’t really care. I’m taking her with me.”

Let’s talk about your new music. You landed your first Top 40 hit with “Better in a Black Dress.” I think it’s fantastic – it’s empowering in a way that you can’t really find on country radio.

Thank you. It’s funny you say that because that’s definitely the thing I love the most about it. I think a lot of women are scared to sing songs like that because they think guys are going to judge them more. Guys can sing songs like that all the time, but if a girl sings something like that, it’s totally different. A guy can sing a song about taking a girl home and having fun, but a girl can’t.

What inspired this song?

It’s funny. It was kind of inspired by winning the [Country Weekly] “Hottest Bachelorette” contest. I had a lot of people try to set me up. You hit 20 and people are like, “So do you have a boyfriend? Are you going to settle down? When do you think you’re going to have kids? What’s your five-year plan? Tell me.”

I went into this with that thought in mind, and I wrote the song with my friend Blair. When I sat down, I told her, “I’m not ready for any of that. I don’t need the white picket fence. I don’t need to get married right now. Someday – just not now.” We wrote that song as the answer to all of these people saying that settling down is what you should do right now.

I love that story. Is the new album similar in theme to that song? How is it different from your previous albums?

It is very different from my past album. A lot of it is very progressive and percussion-driven, and there’s a lot of acoustic guitar. There’s definitely a theme, and that would be love. A lot of songs, whether they’re happy or sad, use the word ‘fall’ as in you’re falling in or falling out of something. And I thought it would be really cool to name the album after that concept, because whether you’re falling in love or falling out of love, that feeling of the fall you always remember.

That’s an interesting way to weave together songs that are happy, sad and in between. You co-wrote or wrote all songs on this album – what was that writing process like?

It was definitely challenging. I set out with the goal in mind to write everything. That’s what I had set out to do on all the other albums, but I heard songs that I just loved along the way and cut those as well. But on this one, I really set my mind to it. I was touring a ton in the last two years, and I’d be home for two days a month and would just try to write as much as possible when I was home. Sometimes I had to force myself get in the zone, even if I wasn’t there.

You’ve said it’s a deeply personal album. Are there specific people that these songs are about?

There definitely are. I won’t ever name names or anything like that, but honestly, some of them are about me, and some of them are about friends and their relationships. It’s a little bit of everything – it’s not just about me.

Do you have a favorite song or lyric on the album?

I cannot pick a favorite on this album. I have a few that I really, really love. There’s one I wrote with Mallary Hope, and it’s just this really sweet, really pretty, stripped-down love song (“Safe”). It’s actually the last track on the album. That’s definitely one that sticks out for me.

It’s about that feeling when you’re in a relationship – the happiest moment in a relationship. I think every person, whether you’re a girl or a guy, wants to feel safe. And when you feel safe with somebody, when you can tell them anything and be yourself with them, that’s the best feeling,

at least for me. That’s what the song is about.

What was it like working with Chad Carlson? Was there a specific sound that you two were trying to create?

I worked with him a little bit on the last album, and we really wanted to change from the last album. We wanted to have cool moments in every song, and I wanted to be able to hear the acoustic guitar on songs. I wanted there to be a lot of percussion and a lot of movement so that when you’re listening, you can tap your hand – whether it’s a slow song or a happy song. It’s definitely a bit different than the previous records, so hopefully people like it and can relate to it.

I love every single aspect of country music. I’ve written every single type of country song, and on this album, everything was definitely put on there with a purpose and with intent. It wasn’t just putting some songs on there for the sake of doing so.

Over the past few years, you’ve toured with a lot of different major country artists. Were there any elements of their tours or music that you took away and were able to channel into your new album?

I don’t know if I put any of the elements into my new album, but I definitely took all of the things that were in the back of my mind for future touring. Just different things like watching how their crew interacts and how they interact with their crew. It’s tiny things like that that you put in the back of your mind and say, “Wow, I never want to overlook that.”

Who do you think you’ve learned the most from, touring or otherwise?

I did one show with Brad Paisley this last year, and I was like, “This is why he is where he is.” He has it completely together. Every single thing. It must take such a long time for those people [on his tour]. It’s a very big crew to put a show on, but everybody’s so gracious and so humble and it doesn’t matter how big he is. He’s nice and friendly to everyone. That’s so important.

Why do you think people like Brad and Reba McEntire and those types of artists have had such staying power in the industry?

I think it’s a combination of having really good music, having a really great personality and having that drive. You have to have that. You’re out on the road so often, you’re not home a lot, and you have to just be OK with that. You always have to be on and be positive, and I think that [artists who've had staying power] are always great at that. It’s very hard to do sometimes.

Where do you see yourself 20 years from now? Where do you want to be?

I still want to be touring. I mean, who can say where they’ll be, but I just want to be singing and making records. I want to be putting music out there – and having people love the music and hopefully relate to it.

Album Review: Terri Clark, <i>Classic</i>

Tuesday, November 20th, 2012

A great covers record, no matter how sincere the artist’s intentions, must provide a satisfactory answer to one question:  Why should we listen to this artist’s versions of these songs when the originals are still there for us to enjoy?

There are moments when Terri Clark’s Classic answers that question effectively, as well as some when the answer is murky at best.  Produced by Clark with Jeff Jones, the project fares best when Clark brings thoughtful vocal interpretations and creative production touches to her renderings of these classic songs.  Her take on Glen Campbell’s “Gentle On My Mind” marries a pleasantly subtle vocal reading to a warm and inviting bluegrass-tinged arrangement.  Another highlight is a reworking of Tanya Tucker’s 1972 debut hit “Delta Dawn,” on which Tucker herself contributes duet vocals.  Tucker proves to be in fine voice, while an acoustic guitar and fiddle-based arrangement accentuates the song’s Southern Gothic charms.  The album also includes some less-expected cover choices such as Linda Ronstadt’s “Love Is a Rose” and Emmylou Harris’ “Two More Bottles of Wine” – not necessary the usual go-to selections for a classic country covers project, but Clark’s searing fiddle-laced reworkings are a real treat.

The album’s most polarizing aspect would likely be its recurring tendency to place the songs in contemporary country-rock settings (which may make some country purists wince) similar to the style that became Clark’s calling card during her days as a mainstream country star.  One could commend Clark for adapting the songs to her own style (as opposed to causing the same musical whiplash as Martina McBride’s by-the-book re-creations from her Timeless project), but the strategy does suffer from the occasional overhaul.  She amps up Kittle Wells’ landmark hit “It Wasn’t God Who Made Honky Tonk Angels” into a honky-tonk shuffle that could have worked if not for her overwrought vocal delivery, but an over-produced take on Loretta Lynn’s “Don’t Come Home a Drinkin’ (With Lovin’ On Your Mind)” all but buries the infectious sass of Lynn’s 1967 original.  By the time Clark’s rocked-up versions of Merle Haggard’s “Swingin’ Doors” and Hank Snow’s “I’m Movin’ On” roll around, the style begins to feel somewhat tired.

The duets included on the album are something of a mixed bag.  Dierks Bentley turns in one of his better performances as he fills George Jones’ shoes on the classic Jones-Wynette duet “Golden Ring.”  Dean Brody joins Clark on “I’m Movin’ On,” thus shifting the song to a two-person (ostensibly an ex-couple) perspective.  The third-person narrative of “Delta Dawn” is likewise well-suited to the duet treatment.  On the other hand, sonically pleasant duet versions of “How Blue” (with original artist Reba McEntire) and Patsy Cline’s “Leavin’ On Your Mind” (with fellow Canadian singer-songwriter Jann

Arden) suffer from the simple common flaw that the songs don’t work well as two-woman duets.

Terri Clark is to be commended for the sense of risk-taking evident on Classic, but unfortunately it sometimes comes at the expense of consistency.  Sleepless Nights it isn’t, but the best moments on Terri Clark’s Classic make it an enjoyable and worthwhile listen as a whole, even if the project falls a degree short of fulfilling its lofty potential.

Top Tracks:  “Love Is a Rose,” “Gentle On My Mind,” “Delta Dawn”

Retro Single Review: Tim McGraw, "Please Remember Me"

Sunday, April 15th, 2012

1999 | Peak: #1

A lush and gorgeous ballad that is elevated by a Patty Loveless harmony vocal, this is arguably Tim McGraw's finest moment on record.

Originally recorded by co-writer Rodney Crowell, “Please Remember Me” was also covered by Linda Ronstadt and Aaron Neville before McGraw included it on his 1999 album, A Place in the Sun.

His pleading performance gives the song its urgency, and the pop-flavored production, complete with strings, harkens back to the glory days of the Nashville sound.

Loveless once said that her job as a singer was to not get in the way of the song.  McGraw's best moments are when he finds a great song like this and gets out of the way.

Written by Rodney Crowell and Will Jennings

Grade: A

Next:  Something Like That

Previous: For a Little While

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100 Greatest Men: #80. The Everly Brothers

Tuesday, October 4th, 2011

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rs.jpg” alt=”” width=”160″ height=”159″ />100 Greatest Men: The Complete List

Their fraternal harmonies saturated stations across the radio dial in the fifties and early sixties, and today they’re best remembered as founders of both rock and country music as we know it.

Brothers Don and Phil Everly were born two years apart in the late thirties, and grew up listening to music that transitioned out of the depression and into the second world war. Their father, Ike, was a traveling musician and had his own radio show out of Shenandoah, Iowa.

They started as part of the family act, but as they got older, they became a duo. Through the help of Chet Atkins, they received a record deal at Columbia, which faltered after one failed single. Still, Atkins encouraged them to stay at it, and helped them get a publishing contract in Nashville.

Their publisher, Acuff-Rose, introduced them to the higher-ups at Cadence Records, and when they signed with the label, the hits came quickly. Hits like “Bye Bye Love”, “Wake Up Little Susie”, “Devoted to You”, and “Bird Dog” made a big impact on the radio, reaching the upper ranks of the pop and country charts in America. Their Rockabilly sound reached all the way around the world, as the duo had big hits in the United Kingdom and Australia.

As format walls hardened, the band signed with Warner Bros., where they had their last big pop hits with “Cathy’s Clown” and “When Will I Be Loved.” Interestingly, though the songs didn’t crack the country charts back then, both would later be covered by female country artists who took them all the way to #1. When Reba McEntire sang “Cathy’s Clown” and Linda Ronstadt sang “When Will I Be Loved”, they sounded just as country as anything else at the time, if not a bit more.

Throughout the sixties, their fortunes faded at radio, and a feud broke the duo apart in the seventies. But before they temporarily called it quits, they released the landmark 1968 set Roots, a critically acclaimed set that was one of the earliest examples of the country-rock that Ronstadt and the Eagles would mainstream in the years that followed.

The Everly Brothers were among the first group of acts inducted during the inaugural year of the Rock and Roll Hall of Fame in 1986. Since then, they’ve been inducted into the Country Music Hall of Fame and received the Grammy Lifetime Achievement Award.

Essential Singles:

  • Bye Bye Love, 1957
  • Wake Up Little Susie, 1957
  • All I Have to Do is Dream, 1958
  • Take a Message to Mary, 1959
  • Cathy’s Clown, 1960
  • When Will I Be Loved, 1960

Essential Albums:

  • The Everly Brothers, 1958
  • Songs Our Daddy Taught Us, 1959
  • It’s Everly Time, 1960
  • A Date With the Everly Brothers, 1961
  • Roots, 1968

Next: #79. Hank Locklin

Previous: #81. Eagles

100 Greatest Men: The Complete List

100 Greatest Men: #81. Eagles

Sunday, October 2nd, 2011

100 Greatest Men: The Complete List

You can count their country hits on one hand, and still have fingers to spare.  But the Eagles did more to shape the sound of country music than any rock band before or since.

It was another country rocker, the legendary Linda Ronstadt, that nudged the band into existence.  Looking for musicians to back her on record and on stage, the founding members – Glenn Frey, Don Henley, Bernie Leadon, and Randy Meisner – performed on her 1971 eponymous album.   With her encouragement, they decided to form a band of their own.

From the time they released their debut album in 1972 until they ended their initial run with 1979′s The Long Run, the Eagles produced rock music that was heavily laced with country instrumentation.   The sound was most prevalent in their earlier work, and while they’d only score one top ten hit at country radio, “Lyin’ Eyes”, they still managed to score a Vocal Group nomination at the CMA Awards.

The country connection to their work was forgotten until the nineties, when a tribute album called Common Thread brought together the nineties country superstars who were most influenced by the band’s work.   Anyone who wondered why so many middle-aged rock fans suddenly embraced country music in the early nineties can have their questions answered by that tribute album.  Alan Jackson, Clint Black, Trisha Yearwood, Travis Tritt, and Vince Gill covered Eagles classics faithfully, and the end result was a collection of performances that reflected just how similar their own work was to that of the Eagles.

The tribute album won the CMA for Album of the Year, and its commercial success inspired the Eagles to reunite for their Hell Freezes Over tour and subsequent album.   When they decided to make their first studio album in almost three decades, they targeted the country market directly. Long Road Out of Eden topped the country albums chart and produced a Grammy-winning country hit with “How Long.”   When they hit the road to support the album, they did so with the Dixie Chicks and Keith Urban.

Essential Singles:

  • Take it Easy, 1972
  • Lyin’ Eyes, 1975
  • Take it to the Limit, 1975
  • Hotel California, 1976
  • Heartache Tonight, 1979

Essential Albums:

  • Desperado, 1973
  • One Of These Nights, 1975
  • Hotel California, 1976
  • The Long Run, 1979
  • Long Road Out of Eden, 2007

Next: #80. The Everly Brothers

Previous: #82. Fiddlin’ John Carson

100 Greatest Men: The Complete List

100 Greatest Men: #86. Nitty Gritty Dirt Band

Sunday, September 18th, 2011

100 Greatest Men: The Complete List

They’ve been around in various incarnations for more than four decades, but the common thread has always been a deep respect for, and desire to preserve, the history of country music.

Nitty Gritty Dirt Band has gone through several personnel changes since they started as a California country-rock band in 1966.  At one point, they even changed their name to the Dirt Band.

But the constants have been guitarist Jeff Hanna and drummer Jimmie Fadden. Though he left the band in 1986, later returning in 2001, John McEuen’s instrumental prowess have also been key to most of the band’s finest moments.

“Mr. Bojangles” was their biggest pop hit, reaching the top ten in 1970 and exposing their sound to a wider audience.  But they soon turned to their country music roots, which led them to make what is arguably the most historically significant album in the genre’s history: 1972′s Will the Circle Be Unbroken.

Recorded in Nashville, it gathered the forefathers (and mothers) of the genre and captured them performing their classic songs and sharing the stories that surrounded their creation.  It was so successful that it later spawned a highly successful sequel in 1989, which won a Grammy and the CMA for Album of the Year.

In between those two bookends, the band scored a hit with Linda Ronstadt in 1979 called “An American Dream.”  A string of fifteen consecutive top ten country hits followed, highlighted by a trio of #1 singles that included the modern classic, “Fishin’ in the Dark.”

In recent years, they’ve continued to record roots music, ensuring their legacy as the band that pushed country instrumentation forward by looking back.

Essential Singles:

  • Mr. Bojangles, 1970
  • An American Dream, 1979
  • Long Hard Road (The Sharecropper’s Dream), 1984
  • Modern Day Romance, 1985
  • Fishin’ in the Dark, 1987

Essential Albums:

  • Uncle Charlie & His Dog Teddy, 1970
  • Will the Circle Be Unbroken, 1972
  • Stars & Stripes Forever, 1974
  • Hold On, 1987
  • Will the Circle Be Unbroken, Volume Two, 1989

Next: #85. Marty Stuart

Previous: #87. Billy Walker

100 Greatest Men: The Complete List

ACM Flashback: Single Record of the Year

Saturday, April 3rd, 2010

As with the similar CMA category of Single of the Year, looking over the history of this category is the quickest way to get a snapshot of country music in a given year.  There is a quite a bt of consensus among the two organizations here, and it is very rare for the winner at one show to not at least be nominated at the other. The winners list here would make a great 2-disc set of country classics, at least for those who don’t mind a little pop in their country. The ACM definitely has more of a taste for crossover than its CMA counterpart, and the organizations have only agreed on 17 singles in the past four decades and change.

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

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”

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