Tag Archives: Martina McBride

Twelve Songs of Christmas: Day 12

Song #12: O Holy Night

Sam’s Pick:  John Berry

If this list has shown anything, it’s that I’m partial to a good reworking of a Christmas standard – something that stands out from the hundreds of other versions.

But for “O Holy Night,” there is nothing like Berry’s simple, traditional, note-perfect version. It’s a particular favorite among golden-voiced singers like Josh Groban and Andrea Bocelli, but Berry’s is the gold standard.

httpv://www.youtube.com/watch?v=zq9c4C2573o

Leeann’s Pick: Martina McBride

This song is meant to be powerfully sung, even belted. Who better to fulfill this requirement than Martina McBride? On my favorite Christmas song, McBride doesn’t disappoint.

httpv://www.youtube.com/watch?v=LtQv5dabomA

BONUS PICKS:

Jonathan Keefe: John Berry

I have to second Sam’s mention of John Berry’s rendition of this song. Among the religious-themed Christmas standards, “O Holy Night” is far away my favorite, thanks to its flawless construction and evocative melody. The problem with the song, though, is that melody and the dramatic crescendo in the refrain both make it real, real easy to oversing. Right, Celine?

Berry, who is absolutely one of the most gifted and underrated singers in country music’s rich history of gifted and underrated singers, takes a far more low-key approach to the song, letting the purity and warmth of his vocal tone and the soulfulness of his slow vibrato convey a real sense of reverence for the song’s message and narrative.

On a song that’s too often undone by bombastic performances and arrangements, Berry’s approach is a gift that keeps on giving.

Kevin Coyne: Carrie Underwood

For the same reason Berry and McBride are mentioned above. For me, Carrie Underwood has the most powerful voice out there, able to alternate between subtlety and raw power with ease.

It seems only fitting that a talent on loan from God should sing about the birth of His son so beautifully.

httpv://www.youtube.com/watch?v=CtS_YJ7VuC4

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Retro Single Review: Shania Twain, “You’re Still the One”

1998 | #1

As the story goes, “You’re Still the One” was inspired by media speculation that Shania Twain’s marriage to Robert John “Mutt” Lange would not last.  Twain and Lange decided to respond to the criticism in song.  The result was a song that would become a monster crossover hit, a staple for weddings and anniversaries for years to come, an instant standard of nineties country and pop music, and one of the songs that would go on to define Twain’s unique and outstanding career.

The song was remixed into a massive international pop hit, and was a major factor in powering the Come On Over album to such staggering sales numbers.  Still, the song is best heard in its original country form for one simple reason:  Any song celebrating an enduring relationship deserves steel guitar backing.

Like many a classic country song, “You’re Still the One” utilizes simple and straightforward lyrics to tap into varying emotions.  “You’re Still the One” is a song of joy, triumph, satisfaction, and most of all, a celebration of endless love.  Though it’s likely a song of personal nature to Twain, it’s constructed in a way that allows any couple to hear the song as their own story set to music.

It’s Twain’s performance, however, that lifts the song into the heavens.  Twain was never known for being a powerhouse vocalist like contemporaries such as Trisha Yearwood, Martina McBride, and Faith Hill (and was even dismissed as a sub-par vocalist by some detractors).  But “You’re Still the One” demonstrates the fact that Twain brought her own unique set of gifts as a vocalist.  She invests deep shades of emotions into her lower register throughout her hushed delivery of the opening verses.  Two choruses and one steel guitar solo later, she lets her voice rise as if releasing every ounce of the deep love and triumph that was previously conveyed understatedly.  Such a layered dynamic rendering is a fine example of Twain’s formidable, yet often overlooked skills as a vocal interpreter, as well as a testament to everything she got right as a songwriter and vocalist.

Sadly, Twain and Lange’s marriage eventually did dissolve a decade later.  Regardless, the song’s deep impact is untempered.  “You’re Still the One” remains an anthem for any couple who has ‘beaten the odds together,’ with my own parents being one such couple.  Songs become hits, and songs fade into obscurity, but this one has been around for thirteen years, and still shows no signs of ever being forgotten.

Written by Shania Twain and Robert John “Mutt” Lange

Grade:  A

Next:  From This Moment On

Previous:  Don’t Be Stupid (You Know I Love You)

The video below features the International version of the song.  Click here to hear the country radio version.

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Filed under Retro Single Reviews, Single Reviews

2011 CMA Awards: Staff Picks and Predictions

It’s that time of year again!  The time when we all dutifully tune in to the CMA Awards show, raise our eyebrows at the “What the heck are they doing here?” award presenters, and afterwards complain about how totally un-country the whole show was.  I don’t know about the rest of you, but I can’t wait.

We’re pleased to share the Country Universe staff picks for this year’s CMA Awards, as well as our predictions of who the winners will be.  This year we have some highly competitive categories in which predicting the winners is quite difficult, leading to some significantly divergent picks among our writing staff.  Agree?  Disagree?  Join in the discussion in the comment thread below, and let us know.

The CMA Awards telecast will air on Wednesday, November 9, 8pm Eastern on ABC-TV.  We will be live blogging the show here at Country Universe, so do be sure to drop by and join in the fun!

Entertainer of the Year

Should Win:

  • Jason Aldean – Kevin
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift – Dan, Ben, Leeann, Jonathan, Tara
  • Keith Urban

Will Win:

  • Jason Aldean
  • Brad Paisley
  • Blake Shelton – Dan, Leeann, Jonathan
  • Taylor Swift – Ben, Kevin, Tara
  • Keith Urban

Dan: I can imagine anyone but Urban taking it, but I like Jonathan’s logic.

Ben:  It’s hard to bet on the Entertainer award going to a female artist, but it seems Swift has undoubtedly had the biggest year of all the nominees.  Her album sold like hotcakes, and produced a trio of killer radio singles, while she topped that off with her Speak Now tour.  That combination should bag her this year’s top prize.

Leeann: Paisley could take it again, but my money’s on the CMA wanting to give it to fresh blood this year. Taylor Swift is who probably actually deserves it, however.

Jonathan:   Paisley is probably the most logical pick, but he didn’t figure as heavily into the nominations this year as he could have, so I’m wondering if the voters have cooled on him as much as the crew here at CU have of late. Swift’s live show should be a factor in this category, but she has a whole lot of gender bias to overcome, and there seems to be at least something of a backlash against her in the country community post-Fearless. Which leaves the ubiquitous Shelton, who has been something of a new “Everywhere Man” for the genre over the past year.

Kevin:  I think Swift will win because she had the highest profile year.  But I think Aldean defines the genre in 2011, for better or for worse.  Mostly worse.

Tara: As I’ve said before, this is the most appropriate way for the voters to reward Swift’s monster success, and for the first time at the CMAs, I truly feel she deserves this award. I’m particularly impressed with the way she continues to cultivate her relationship with her fans. I just hope the voters don’t pair this award with the FVOTY award.

Male Vocalist of the Year

Should Win:

  • Jason Aldean – Dan, Ben
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Keith Urban – Leeann, Jonathan, Kevin, Tara

Will Win:

  • Jason Aldean – Dan, Ben
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton – Leeann, Jonathan, Kevin, Tara
  • Keith Urban

Dan:  Aldean’s not my thing, but he’s the biggest guy in the field by an unignorable margin. More than anything, I think the indie Broken Bow Records deserves props for building their flagship artist so well.

Ben:  I’m largely indifferent to this particular field of nominees (save possibly Keith Urban), but Aldean’s massive success should most likely nab him his first Male Vocalist trophy.

Leeann: Again, I think it’s Shelton’s night to sweep in order to shake things up this year. He and Urban have the strongest voices in the category anyway.

Jonathan:  Urban’s the only one of the lot who has released even one single I’ve liked in the past year, so he’d get my vote. Aldean has the commercial clout, sure, but quality has to count for something, right? Voters have looked at the word “Vocalist” in the category name and have passed over Chesney for years, and I wonder if they’ll do the same to Aldean here. I’m thinking yes.

Kevin: Urban’s the one who I can stand to listen to. But if Shelton was able to win last year, I don’t see how he loses this year. Not post-Voice and “Honey Bee.”

Tara: It makes me sad that I can’t find a solid reason to support Urban or Paisley, both of whom I used to feel passionately about. And in all honesty, I can’t find a solid reason to support any of these guys, based on their output during the eligibility period. I’m going to blindly back Urban –who, despite being “Urban-lite” these days, is at least consistent– and predict that Shelton’s amped public profile will give him the edge with voters.

Female Vocalist of the Year

Should Win:

  • Sara Evans – Kevin
  • Miranda Lambert
  • Martina McBride
  • Taylor Swift – Dan, Ben, Leeann, Jonathan
  • Carrie Underwood – Tara

Will Win:

  • Sara Evans
  • Miranda Lambert – Dan, Leeann, Jonathan, Kevin, Tara
  • Martina McBride
  • Taylor Swift – Ben
  • Carrie Underwood

Dan:  Come ACM season, I’ll be all for Lambert; Pistol Annies and Four The Record prove she’s using her new commercial powers nobly. But I like Swift’s performances on Speak Now, and that album just applies more to this awards cycle.

Ben:  Swift is the overall strongest contender, but I could see voters seizing the opportunity to recognize Evans, who released a new album and had a number one single during the eligibility period.  I wouldn’t rule Lambert out either, though she didn’t have as strong a year as she did in 2010.  But I doubt this will be Underwood’s year, and McBride’s was essentially a filler nomination, so I’d say it’s down to Swift, Evans, and Lambert. (But, like Dan, I will totally be Team Miranda when the ACMs roll around)

Leeann: I reflexively say Lambert should win, but Swift has had the best year and will likely win as a result. I won’t be heart broken if Lambert takes it though.

Jonathan:  There’s a part of me that would vote for Lambert on principle and out of loyalty, but I can’t argue with a simple mathematical inequality: “Back to December,” “Mean,” and “Sparks Fly” > “Only Prettier,” “Heart Like Mine” and “Baggage Claim.” Had her label been campaigning harder that she’s never won this award, Evans could’ve been a bigger threat here, but Lambert’s ongoing momentum should carry her to a repeat win.

Kevin: Can this power couple nonsense be derailed?  Probably not, so while I’d rather see Swift get it over Lambert, I’m doubtful it would happen. My real fantasy would be for the only non-winner, Sara Evans, to take it.  For prosperity’s sake, and for actually putting out a great single that I failed to realize was great until it was already a hit.

Tara: This is a tough one for me. Lambert’s worked the genre like no other female has this past year and a half, but the singles she’s released in the eligibility period have been so-so. Swift’s put out some solid material, but I’m not sure I’ll ever be able to support her winning a vocalist award. And then there’s Underwood, who’s been relatively quiet on the radio front, but whose stunning performance of “How Great Thou Art” back in April went viral and serves as a reminder of what I firmly believe is one of the finest voices in the genre. I’m going with my gut and backing Underwood, but I think the voters will reward Lambert again, which is fine with me.

Vocal Duo of the Year

Should Win:

  • The Civil Wars – Dan, Ben, Leeann, Jonathan, Kevin, Tara
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland
  • Thompson Square

Will Win:

  • The Civil Wars
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland – Dan, Ben, Leeann, Jonathan, Kevin, Tara
  • Thompson Square

Dan:  Seriously, why not the Civil Wars? They’ve sold about as many albums (200,000-ish) as everyone besides Sugarland without the support of a major label. Not to mention they just made the most interesting music.

Ben:  I’m supporting the Civil Wars on principle, but it’s a no-brainer that Sugarland’s hot streak is not over yet.

Leeann: I love The Civil Wars. The end.

Jonathan:  Yet more evidence that this category should be merged with Vocal Group of the Year to cut the deadweight. Though the Civil Wars getting in instead of the JaneDear Girls is a nice testament to the fact that the CMAs, every so often, can exercise good taste and discretion.

Kevin:  Sugarland’s album was atrocious.  The Civil Wars are in the running for my favorite set of the year.  Easy call for me.

Tara: Can Sugarland hurry up and release a new, redeeming album, please?

Vocal Group of the Year

Should Win:

  • The Band Perry
  • Lady Antebellum
  • Little Big Town
  • Rascal Flatts
  • Zac Brown Band – Dan, Ben, Leeann, Jonathan, Kevin, Tara

Will Win:

  • The Band Perry
  • Lady Antebellum – Tara
  • Little Big Town
  • Rascal Flatts
  • Zac Brown Band – Dan, Ben, Leeann, Jonathan, Kevin

Dan:  Lady A were between albums. Some variety this year, please.

Ben:  It’ hard to bet against Lady Antebellum, but the Zac Brown band gave us a strong album and two of the year’s most memorable hit singles (“As She’s Walking Away” and “Colder Weather”), and I predict that they will be rewarded justly.

Leeann: Zac Brown Band has a good chance with the best music in the category, but Lady A just might not be out yet.

Jonathan:  Little Big Town’s brilliant “Little White Church” should’ve put them back in the mix for good, but they really botched the single releases from their album and are right back to being also-rans. The Band Perry will settle for the “New Artist” award as a consolation prize this year, which leaves Lady A and Zac Brown Band to duke it out. In terms of the quality of their output, Zac Brown Band has Lady A dead to rights, but is that enough to stop the trio’s awards-show juggernaut? Let’s hope so.

Kevin:  Zac Brown Band is the only option both realistic and palatable.

Tara: This is the first of these categories that I feel strongly about this year. Based on the strength of You Get What You Give, Zac Brown Band deserves to nab this award, hands down. But I’ll go against my co-bloggers here and guess that Lady Antebellum still has the industry wrapped around its finger.

New Artist of the Year

Should Win:

  • The Band Perry – Ben
  • Luke Bryan
  • Eric Church – Leeann, Jonathan
  • Thompson Square
  • Chris Young – Dan, Kevin, Tara

Will Win:

  • The Band Perry – Ben, Jonathan, Tara
  • Luke Bryan
  • Eric Church – Dan, Leeann, Kevin
  • Thompson Square
  • Chris Young

Dan: Church seems the most likely to have a long, interesting career and probably deserves the win. I just don’t want to encourage “Homeboy,” I guess.

Ben:  Thompson Square and The Band Perry are the only two nominees whom I would still consider “new” artists, and I think The Band Perry beats Thompson Square any day.  Bryan, however, did reach a new level of stardom over the past year, so he stands a good chance at wining nonetheless.

Leeann: While it’s strange that with three albums Church is still in the New Artist category, it’s probably that same reason that he should win the award, not to mention that he had the strongest album of the nominees in the past year.

Jonathan:  Young’s the best singer in the field, but his material is still too inconsistent in quality for me to get on board with him. Church, on the other hand, finally made good on his early promise and his considerable hype with Chief and would be a deserving winner, as would the uneven but still pretty good The Band Perry. As the only nominee with any other nominations, they have to be considered the slight favorites over Crest WhiteStrips.

Kevin:  I think Church’s big breakthrough happened close enough to the voting window to give him a slight edge.  I’d like to see Chris Young get the boost from a win.

Tara: Of all the nominees, I’m the most excited for Chris Young’s future in country music – his vocal talent is tremendous, and even though it falls right outside of the eligibility period, Neon is one of my favorite releases of this year. Based on their other major nominations, though, I think The Band Perry will take this.

Album of the Year

Should Win:

  • Blake Shelton, All About Tonight
  • Jason Aldean, My Kinda Party
  • Taylor Swift, Speak Now – Ben, Kevin
  • Brad Paisley, This Is Country Music
  • Zac Brown Band, You Get What You Give – Dan, Leeann, Jonathan, Tara

Will Win:

  • Blake Shelton, All About Tonight
  • Jason Aldean, My Kinda Party – Dan, Leeann, Jonathan, Tara
  • Taylor Swift, Speak Now – Ben, Kevin
  • Brad Paisley, This Is Country Music
  • Zac Brown Band, You Get What You Give

Dan: Here’s a logical place to acknowledge Aldean, though I hope voters think twice about it.

Ben:  In my book, Swift and the Zac Brown Band are the only truly worthy winners (and I’m still scratching my head over why a Blake Shelton “Six Pak” was even nominated in the first place).  To me, the most intriguing thing about Swift is that she really does seem to get a little better and a little deeper with each album.  Speak Now is her crowning achievement to date, and in my opinion, the best album on this ballot.

Leeann: It hurts my heart to think it, but Jason Aldean’s big year will likely earn him the award for best album, even though numbers isn’t how such an award should be selected.

Jonathan:  Speak Now is Swift’s strongest album, but, “Mean” notwithstanding, it’s also her most unabashedly pop album. And song-for-song, I still think You Get What You Give is slightly better. But Aldean has been a steady seller, and he’s big enough that he has to win one of the major awards, and this one’s his best bet.

Kevin:  “All songs composed by Taylor Swift” impressed the heck out of me, not the least of which because the songs were far better than her earlier work.  Zac Brown Band’s a close second for me.

Tara: Speak Now is solid, but You Get What You Give is the better example of how to move this genre forward, with its delicious yet reverent mishmash of influences. But I think this is where the voters will recognize the often overlooked commercial success of Jason Aldean.

Single of the Year

Should Win:

  • Sara Evans, “A Little Bit Stronger”
  • Zac Brown Band, “Colder Weather”- Leeann, Tara
  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
  • Blake Shelton, “Honey Bee”
  • The Band Perry, “If I Die Young” – Dan, Ben, Jonathan, Kevin

Will Win:

  • Sara Evans, “A Little Bit Stronger”
  • Zac Brown Band, “Colder Weather”
  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Jonathan, Tara
  • Blake Shelton, “Honey Bee” – Kevin
  • The Band Perry, “If I Die Young” – Dan, Ben, Leeann

Dan: It’d be heartening to see The Band Perry’s risky, rootsy release get its due. Plus: the single alone is 3x Platinum, better than any of its competitors can claim.

Ben:  “Colder Weather” and “If I Die Young” are the two strongest competitors, but for me, a cool folksy arrangement puts the latter over the edge.

Leeann: This is tough. I can actually see any of these singles winning, but I have a good feeling about “If I Die Young”, though I’d love to see “Colder Weather” prove me wrong.

Jonathan:  This one’s actually a tough call, since all five of the singles are big radio hits and everyone here has multiple nominations. “If I Die Young” is the best-produced single of the lot, but I’m predicting that Kelly Clarkson’s endless likability gives the edge to her duet with Aldean.

Kevin:  Love the Band Perry record most, followed by Sara Evans.  But this is the CMA awards, and Shelton managed to be both completely vanilla and namedrop Conway Twitty and Loretta Lynn.

Tara: If I better understood the story in “If I Die Young,” I might be able to get behind it, but I think “Colder Weather” is the more memorable single. It’s my favorite kind of country ballad – killer vocals, gripping melody and palpable emotion. I see the fiery Aldean / Clarkson collaboration taking this one, though. (By the way, dude, “Honey Bee” – really CMA?)

Song of the Year

Should Win:

  • “Colder Weather” – Zac Brown, Wyatt Durrette, Levi Lowrey & Coy Bowles
  • “Dirt Road Anthem” – Brantley Gilbert & Colt Ford
  • “If I Die Young” – Kimberly Perry – Dan, Tara
  • “Mean” – Taylor Swift – Jonathan, Kevin
  • “You and Tequila” – Matraca Berg & Deana Carter – Ben, Leeann

Will Win:

  • “Colder Weather” – Zac Brown, Wyatt Durrette, Levi Lowrey & Coy Bowles
  • “Dirt Road Anthem” – Brantley Gilbert & Colt Ford
  • “If I Die Young” – Kimberly Perry – Dan, Ben, Jonathan, Tara
  • “Mean” – Taylor Swift – Kevin
  • “You and Tequila” – Matraca Berg & Deana Carter – Leann

Dan:  “If I Die Young” is a flawed composition, but it’s still the most striking and strange one here, and that’s worth something.

Ben:  I never though I’d see a CMA Song of the Year field in which Matraca Berg and Deana Carter would compete against Colt Ford and Brantley Gilbert.  I would so love to see Berg and Carter win the award.  I might tend to be slightly biased when it comes to Matraca Berg, but I think “Tequila” is a fine composition on its own merits, and a worthy winner indeed.  Still, my gut predicion is that Perry will grab the trophy instead.

Leeann: “Mean” is probably my favorite song in terms of production and melody, but “You and Tequila” is the best song of the nominees.

Jonathan:  Berg is a treasure and I like Carter well enough, so it’s nice to see their names on the ballot again, but “You and Tequila” isn’t either of their best compositions. Here’s the thing about “Mean”: What doesn’t work about the song has everything to do with the fact that it shows the extent to which Swift still hasn’t fully figured out her artistic persona. But in terms of melody and overall construction as a stand-alone song? It’s the class of the field. As Dan said, “If I Die Young” is flawed, but it also has a lot going for it and will be a fine, worthy winner when it inevitably takes this.

Kevin: I love “You and Tequila”, but it’s an old song.  I’m glad Chesney rediscovered it, but I can’t see it as this year’s Song of the Year.  I think “Mean” is the best of the bunch, with the music as clever as the lyrics.

Tara: I’m with Jonathan and Leann re: “Mean” in that I agree its melody and overall construction are terrific; unfortunately its flaw –the bridge, which undermines the premise of the song– is too big for me to overlook. And as much as I love it, I don’t feel right backing “Colder Weather,” either, as it’s really Brown’s vocal performance that elevates the composition to a memorable song. So I’ll go with the quirky and unique “If I Die Young” and guess the voters will, too.

Musical Event of the Year

Should Win:

  • “As She’s Walking Away” – Zac Brown Band featuring Alan Jackson – Dan, Ben, Leeann, Jonathan, Kevin, Tara
  • “Coal Miner’s Daughter” – Loretta Lynn, Sheryl Crow & Miranda Lambert
  • “Don’t You Wanna Stay” – Jason Aldean with Kelly Clarkson
  • “Old Alabama” – Brad Paisley with Alabama
  • “You and Tequila” – Kenny Chesney featuring Grace Potter

Will Win:

  • “As She’s Walking Away” – Zac Brown Band featuring Alan Jackson – Kevin, Tara
  • “Coal Miner’s Daughter” – Loretta Lynn, Sheryl Crow & Miranda Lambert
  • “Don’t You Wanna Stay” – Jason Aldean with Kelly Clarkson – Dan, Ben, Leeann, Jonathan
  • “Old Alabama” – Brad Paisley with Alabama
  • “You and Tequila” – Kenny Chesney featuring Grace Potter

Dan:  The Single nod for Jason and Kelly suggests they have the edge here. But my heart echoes a resounding “Go on, son.”

Ben:  “As She’s Walking Away” is just so effortlessly charming that it would easily be my first pick, but the cross-genre appeal – and bonus Clarkson star power – of “Don’t You Wanna Stay” make it the most likely winner.  The fact that “Don’t You Wanna Stay” is also nominated for Single (which “As She’s Walking Away” sadly isn’t) suggests a likely victory in this category.

Leeann: How can I not pull for the Zac Brown Band and Alan Jackson when I have a chance? I’m pretty confident that the drama, cross genre appeal, and, yup, the drama again, make “Don’t You Want to Stay” the sure bet though.

Jonathan:  “As She’s Walking Away” is one of the purest and truest duets in years, and it could pull some votes from the more traditionalist voters, but the Aldean and Clarkson single just has too much firepower to lose here.

Kevin:  If this doesn’t go to Zac Brown Band and Alan Jackson, then I no longer understand how CMA voters think.

Tara: No question here, “As She’s Walking Away” is head and shoulders above the rest of the collaborations in this category, one of the most quietly charming singles we’ve heard on country radio in quite some time. I’ll go out on a limb and predict that voters will have trouble ignoring the warm fuzzies they get when Jackson starts singing.

Music Video of the Year

Should Win:

  • Blake Shelton, “Honey Bee”
  • The Band Perry, “If I Die Young” – Dan
  • Taylor Swift, “Mean” – Ben, Kevin, Tara
  • Brad Paisley featuring Alabama, “Old Alabama”
  • Kenny Chesney featuring Grace Potter, “You and Tequila”

Will Win:

  • Blake Shelton, “Honey Bee” – Ben
  • The Band Perry, “If I Die Young”
  • Taylor Swift, “Mean”
  • Brad Paisley featuring Alabama, “Old Alabama” – Dan, Jonathan, Kevin, Tara
  • Kenny Chesney featuring Grace Potter, “You and Tequila”

Dan: It’s my least favorite Paisley video ever, though.

Ben:  Swift’s “Mean” is my personal favorite among these nominees, but I’m expecting that voters will show some Shelton love instead.

Jonathan:  Paisley has to win something, right? And this also gives the voters a chance to honor some beloved genre vets.

Kevin: I think the video splicing tricks will give Paisley and Alabama an additional edge.  Of the five clips, “Mean” is the one I like the most.

Tara: I love the whimsical video for “Mean” but think (and actually kind of hope) the voters will use this category to award the show co-host and his buddies.

Musician of the Year

Should Win:

  • Paul Franklin (steel guitar) – Dan, Ben, Leeann, Jonathan, Kevin, Tara
  • Dann Huff (guitar)
  • Brent Mason (guitar)
  • Mac McAnally (guitar)
  • Randy Scruggs (guitar)

Will Win:

  • Paul Franklin (steel guitar) – Leeann, Jonathan
  • Dann Huff (guitar)
  • Brent Mason (guitar)
  • Mac McAnally (guitar) – Dan, Ben, Kevin, Tara
  • Randy Scruggs (guitar)

Dan: Default underdog support.

Ben:  I would love to see this go to the steel guitar man (and preferably not to Dann Huff), but Mac McAnally tends to be the favorite here.

Leeann: I want the steel guitar to represent this year. So, I’ll will it to happen.

Jonathan:  Franklin’s the only nominee who hasn’t won previously, and being regarded as long overdue eventually helped McAnally score his first win, leading to his current three-year hot streak.

Kevin:  I’ll be rooting for Paul Franklin until he finally wins, but I won’t believe that he’ll win until he finally does.

Tara: What Ben and Kevin said.


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Favorite Songs by Favorite Artists: Sara Evans

I was in my early teens when I first discovered Sara Evans… and I thought she was the greatest thing since sliced bread.  The rich, throaty texture of her distinct voice reeled me in, and her entertaining mixture of traditional and contemporary influences had me thoroughly hooked.  Now that I’ve also become familiar with the likes of Patty Loveless, Pam Tillis, Trisha Yearwood, and Emmylou Harris, my view of Sara is a little more in-perspective these days, but I do still consider myself a big fan, and she holds a special distinction as one of the first female country artists I really got into.

Radio passed on her when she first emerged as a neotraditionalist in the late nineties, but with future efforts, Sara went on to become a star, thanks to her ability to adapt to changing times while still staying true to herself.  She was one of the dominant female country voices on the radio dial in the early years of the twenty-first century, and after enduring a bit of a dry spell for a few years, she has recently experienced a commercial resurgence.

Though she maintained a fairly consistent quality standard for the better part of her career, recent years have seen that standard slipping thanks to subpar pop-country cuts in the vein of “Feels Just Like a Love Song.”  Nonetheless, Sara still deserves credit for having a solid body of work behind her that’s well worth remembering.  If we’re fortunate, perhaps we may one day see Sara make a return to form, or even delve back into her traditional country and bluegrass roots.

The following list includes many of the songs that best exemplify the qualities that drew me to the music of Sara Evans in the first place.  It’s not meant to be a strict listing of the songs that unquestionably rank as Sara’s “best;” (which would be pretty subjective anyway) It’s merely a list of my own personal favorites.  Let it be an enjoyable look back on some of Sara’s finest moments.  If you would like to share any of your own favorites in the comments section, please feel free to do so.

#25

“A Little Bit Stronger”

Stronger, 2011

Somehow, Sara’s comeback hit finds a way to hit my sweet spot for power ballads. (Yes, I actually do have a sweet spot for power ballads, though few have been able to hit it) What was it about this song that won me over?  Maybe it was the subtle strains of mandolin and steel.  Maybe it’s the build-up nature of the song – the way the progressive nature of the narrator’s healing is mirrored by the production and by Sara’s vocal delivery.  At any rate, the ingredients come together to form a record greater than the sum of its parts.

#24

“New Hometown”

Real Fine Place, 2005

It’s not just a song about how cool small-town life is.  Stylistically, the song even ranks as one of Sara’s most pop-friendly album tracks.  As Sara’s character expresses her desire to escape the hustle-and-bustle of city life, the song becomes a plea for a return to the simple things in life.  Though not all of us intend to make a big old move to a small town, no doubt many among us harbor a similar deep-down yearning just to “find a little earth to stand on.”

#23

“Perfect”

Restless, 2003

The catchy guitar hook is an instant attention-getter, but this number-two hit from Sara’s Restless album has a heart and a simple message at its core:  “Real love and real life doesn’t have to be perfect.”  Add in a few quirky and clever lines such as “If in every wedding picture my daddy looks annoyed, it’s all right,” as well as the fitting conclusion that “All the fairy tales tell a lie,” and you’ve got a real beauty.

#22

“Momma’s Night Out” 

Real Fine Place, 2005

I love this song mainly because it’s a side of Sara that we haven’t seen very often.  She’s rarely been one to record party songs.  But on this track, Sara takes on the role of an overworked mother who throws in the towel, leaves the kids with daddy, and hits the town with the girls.  Sara’s sassy vocal finds her as loose as she’s ever been, while the funky horn-infused production makes it an unforgettable track

#21

“Cupid”

No Place That Far, 1999

The distinct voice of George Jones, even when coming in the form of background vocals, has the ability to make a great song even greater (see Patty Loveless, “You Don’t Seem to Miss Me”).  In this shamelessly twangy steel-infused country rave-up from No Place That Far, the Possum joins Sara in delivering the unshakable hook of “Tell Cupid not to point that thing at me!”

#20

“Restless”

Restless, 2003

I have a bit of a weakness for country music that borrows from Irish and Celtic influences as this track does.  The gorgeous Celtic-harp-laced arrangement makes “Restless” a highlight of one of Sara’s most stylistically-diverse albums.  The lyrics are every bit as beautiful, poetically telling of a restless soul learning to make peace with the fact that she will be a wanderer until the day she dies.

#19

“Low”

Billy: The Early Years (soundtrack), 2008

Sara’s contribution to the Billy soundtrack is nothing short of a pure joy, replete with the sounds of pure country and bluegrass instrumentation.  Though the lyrics invoke religious elements, they don’t sound preachy at all.  It’s not a “You should live your life this way” kind of song;  It’s an “I’m going to live my life this way” kind of song.  It’s a proactive anthem of strength, resolve, and determination – more uplifting than a million Martina McBride power ballads combined.

#18

“I’ve Got a Tiger By the Tail”

Three Chords and the Truth, 1997

Fact:  Sara sounds best when singing traditional country music.  Going back and listening to Sara’s shamelessly neotraditional debut album is a joy for any fan of stone cold country.  Here she pays tribute to the vintage Bakersfield sound with a cover of a Buck Owens hit co-written by Harlan Howard.  Besides being a highlight of the Three Chords and the Truth album, this song was instrumental in helping Sara get the chance to snag a record deal and become a star.  It was when the legendary songwriter Harlan Howard himself heard Sara’s performance of his classic song that he threw all his efforts into helping the young talent get discovered.

#17

“Fool, I’m a Woman”

No Place That Far, 1999

This deliciously snarky tune has Matraca Berg’s fingerprints all over it.  In a composition by one of country’s finest songwriters, Sara plays off the age-old stereotype of a woman’s continual habit of changing her mind.  She scoffs at old romantic clichés as she pointedly tells off her soon-to-be-ex-lover – “You used to tell me so many nights/ You don’t deserve me/ Well maybe you were right.”  Ouch!

#16

“A Real Fine Place to Start”

Real Fine Place, 2005

I have a major affinity for songs that can effectively channel the excitement of a newfound romance, and this Radney Foster-penned number-one hit from 2005 squarely hits that target.  Thanks in large part to Sara’s soaring vocal performance, “A Real Fine Place to Start” is a fun, breezy record that bubbles over with energy and exuberance, and begs to be blasted out one’s car windows.  A shining example of pop-country done well.

#15

“Why Should I Care”

Born to Fly, 2000

A sparse pop-country ballad in which a woman struggles to make sense of the feelings of guilt and jealousy that suddenly surface when she finds out that her former lover has found someone new.

#14

“Imagine That”

Three Chords and the Truth, 1997

Sara’s take on this Patsy Cline torch ballad ranks as arguably one of the finest displays of Sara’s vocal talents that can be found on any of her studio albums.

#13

“Bible Song”

Real Fine Place, 2005

This melancholy Lori McKenna song was one of the best tracks on Real Fine Place.  While so many country stars have gleefully sang the praises of small-town living, “Bible Song” echoes the message that life in such idealistic small towns is not always what it’s cracked up to be.  The pace of life may be slower, but this tragic story of a young man’s drug-induced death shows that even small town residents at times fall prey to their own inner demons.

#12

“Rockin’ Horse”

Restless, 2003

A genuine nugget of wisdom is wrapped up in this blazing fiddle-shredder.  The narrator recounts a frightening childhood experience in which a tree falls near her family’s house after being struck by lightning.  Then her father carves the tree’s wood into a rocking horse that becomes one of her most treasured toys.   By showing how this experience shapes the narrator’s outlook on life, “Rockin’ Horse” becomes a colorful testament to the power of positive thinking, with its message summed up in the memorable hook “When it’s pouring down on me/ In my life I see the rockin’ horse inside the tree.”

#11

“As If”

Greatest Hits, 2007

Four new tracks were included on Sara’s 2007 Greatest Hits package, and this almost-Top 10 hit was by far the best.  With cheeky, humorous lyrics, Sara satirically poked fun at the human tendency toward infatuation that blinds one to all a person’s shortcomings.  The catchy melody and energetic performance made for an earworm of a record that was truly unforgettable.

#10

“What That Drink Cost Me”

Stronger, 2011

The new album could have benefited greatly from more songs like this.  This restrained steel guitar weeper is the stuff of a country classic – a heart-wrenching tale of the destructive power of alcohol.  Though the Stronger album as a whole found Sara saddled with an excess of disposable material, the fact that it also included one of the best songs she had written in years is an encouraging sign.  Besides that, “What That Drink Cost Me” is yet another example of one of the qualities that I’ve always appreciated about Sara’s music:  Even after she went in a more pop-flavored musical direction, her traditional country influences were never fully snuffed out.

#9

“If You Ever Want My Lovin’”

Three Chords and the Truth, 1997

This loose, flirty, upbeat little ditty was co-written by Sara along with Billy Yates and Melba Montgomery.  Though the cheeky lyrics can put an instant smile on one’s face, the record’s most endearing trait is Sara’s raw, expressive vocal delivery.  Though Sara’s Missouri twang is toned back on some of her more pop-oriented material, this record allows that twang to stand front and center.

#8

“Unopened”

Three Chords and the Truth, 1997

This was the only original song on Sara’s debut album on which she did not share writing credits, originating from the pen of Leslie Satcher.  As the song’s narrator discovers evidence of a secret love from her man’s past, she views his willingness to leave it behind as evidence of his genuine love for her.  She resolves to return that love by trusting in her man, and allowing his secret to remain a secret.

#7

“No Place That Far”

No Place That Far, 1999

Vince Gill is one of country music’s favorite harmony vocalists (besides being an A-list legend in his own right), and he adds something particularly special to the hauntingly beautiful love song that was Sara’s breakthrough chart-topper.  The song reaches a crescendo in the final chorus as Sara sings “If I had to run, if I had to crawl…” and is answered each time by that distinctive tenor.  It’s as if we’re listening to two lovers singing to one another from afar off, pledging their unwavering determination to be reunited.  Though it’s a great lyric in its own right, the chemistry of the two performers gives the story an extra layer that can’t be seen just by looking at the lyrics on paper.

#6

“I Learned That from You”

Born to Fly, 2000

Though found on one of Sara’s most pop-oriented albums, “I Learned from You” was one of the finest and most country tracks on Sara’s breakthrough album Born to Fly.  A heavy-hearted reflection on the difficult leassons learned from a first love that didn’t last, while also an appreciative recollection of all the happy memories that were made at the time.

#5

“Coalmine”

Real Fine Place, 2005

The timing was unfortunate for the release of this underplayed gem that offered a glimpse of Sara’s mountain bluegrass influences.  A flirty, playful lyric and performance added up to a song that was loads of fun as Sara fawned over her man “walking out of that coalmine, covered with dust, T-shirt tight, all muscled up.”  This is one Sara Evans single that is definitely deserving of a re-release.

#4

“Three Chords and the Truth”

Three Chords and the Truth, 1997

The title track of Sara’s debut is a testament to the power of country music in dredging up deeply held emotions in a listener – emotions that we might have ignored in the past.  It’s the kind of song that always reminds me why I love country music so much.  Sara’s character hears a country song on the radio for the first time, and it not only brings back the emotions, but it moves her to action.  It motivates her to turn the car around and reconcile with the lover she had intended to leave far behind.  “Three Chords” is a beautifully constructed story that effectively pays tribute to country music at its best, demonstrating that there’s so much more to this unique and special genre than what the ugly stereotypes would lead some to believe.

#3

“Suds In the Bucket”

Restless, 2003

Besides being an excellent singalong driving jam, this fiddle-and-steel-laden hit is a humorous glimpse at tongue-wagging small-town culture, sans the chest-pounding backwoods clichés that are common on country radio today.  Fun, playful, and full of personality, this country rave-up was the song that first got me into Sara Evans, and it’s remained a personal favorite of mine ever since.  It never fails to make me feel happy.

#2

“Cheatin’”

Real Fine Place, 2005

This Top Ten hit takes a classic country music theme – infidelity – and puts a distinct and memorable spin on it.  After having parted ways with an unfaithful spouse, Sara’s character gloats over the unpleasant living situation her ex has since found himself in.  But as the lyric progresses, she reveals that she has been genuinely hurt by his actions, and she unashamedly drops the bomb of “Yes, I’ll be glad to take you back just as soon as I stop breathing.”  Amusingly spiteful and achingly emotional at the same time, “Cheatin’” exemplifies the layered organic storytelling that makes for a killer country song, while the traditional-styled arrangement acts as the perfect sonic backdrop to Sara’s bitterly nuanced performance.

#1

“Born to Fly”

Born to Fly, 2000

Sara’s career record remains one of her most enduring and effortlessly charming hits, and with it’s distinctive drumbeat intro and bluegrass-tinged instrumentation, it’s definitely one of her most recognizeable.  “Born to Fly” is an endearing coming-of-age tale of a young woman exploring her potential in life, and seeking to find her place in the world.  It manages to perfect the magic formula of possessing a unique identity of its own, while still being universal such that a wide array of individuals can relate to the feelings it expresses.  Who among us has never gone through this period of life as a young person?  We’ve all been at that crossroads point in life, and felt what it’s like to be “starin’ down the road, just lookin’ for my one chance to run.”

In a way, the song could also be seen as symbolic of the point Sara was at in her career when she recorded it.  Would her third album improve on the moderate success of No Place That Far, or would it be ignored like the commercially-underappreciated Three Chords and the Truth?  It was with this album and single that Sara struck platinum with a style that was just slick enough to be commercially friendly without sacrificing the heart of her earlier work.  The result?  Her career ‘soared away like a blackbird.’

In a career that has included many memorable singles, “Born to Fly” is one of the very finest.

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CU Roundtable Review: Martina McBride, “I’m Gonna Love You Through It”

Written by Ben Hayslip, Sonya Isaacs, and Jimmy Yeary

Leeann Ward: 

After changing record labels and subsequently releasing the refreshingly sassy “Teenage Daughters”, not to mention interviews that hinted that she hadn’t been completely happy with the direction that her music had taken in recent years, it seemed that blessedly gone might be the days of overwrought, cloying power ballads with generic productions for Martina McBride. The release of “I’m Gonna Love You Through It”, however, laid that hope to rest for those of us who had tired of such songs a zillion Martina songs ago.

The most frustrating thing about this recording is that the song actually has a good story underneath the boring, glossy production. We get to see a loving husband who sensitively stabilizes and loves his wife through grueling breast cancer treatments that ultimately result in her losing both breasts. The story deserves to be told, as this composition admirably does, with such stark reality and detail, but McBride has used up her capital for these types of songs. It’s difficult not to feel desensitized at this point.    Grade: C

Jonathan Keefe:

Well, so much for feeling optimistic about her song choices after “Wrong Baby Wrong” and “Teenage Daughters” broke a decade-long streak of artistic stagnation. As far as McBride’s “important” “issue” songs go, this one is far less maudlin than “Concrete Angel,” less saccharine than “God’s Will,” and less self-congratulatory than “Anyway,” but it still goes for the easiest, cheapest kinds of emotional manipulation, and the knowledge that she’s capable of better will never make one of these songs anything but a let-down.

The verse about the mastectomy is, at the very least, the kind of detail-oriented, personal songwriting that each of those other three singles sorely lacked, and I’m sure this song will find a vocal audience among breast cancer survivors who will use this as an anthem of empowerment. To which, sure. But it’s not like McBride deserves a medal or any awards-show hardware for wailing about how cancer is bad but loving your spouse with cancer is good. We hear you loud and clear, Martina, but we already agreed with you.    Grade: C-

Sam Gazdziak:

Considering the number of people who have battled cancer and the family members who have supported them, Martina McBride’s new single can resonate with pretty much everybody. “I’m Gonna Love You Through This” is a touching concept, but it’s only moderately successful as a song.

There are some well-written details in the lyrics, particularly the references to the woman wearing baggy shirts and yearning to feel like a woman again. There are likely countless breast cancer survivors out there feeling the same way, and while they may not want to discuss those feelings with their family, maybe hearing McBride singing about it will help them to come to terms with their loss.

Given the song material, though, it’s difficult to stay on the side of “touching” without crossing over into “maudlin.” While the lyrics yank on heartstrings, as expected, the production is what really takes it over the top. The string section is syrupy enough, but when McBride bursts into full-blown Diva Mode, it just gets to be too much.

I can appreciate the song from a technical standpoint, but I have no desire to hear it again.  Grade: C+

Kevin Coyne:

The concept is better than the finished product here.

The song gets a lot of the details about cancer right, but that’s what makes the message of the chorus sound so trite.   I think they would’ve been better off picking a character in the song and singing it in the first person.  The experience of the wife receiving that unconditional love while they struggle with an illness, for example.  Or even better, the contrast between the brave front the supportive spouse is presenting to his wife and the fear and terror he’s feeling inside.

The typical post-Wild Angels criticisms apply: she sings too loud, and the band plays even louder.  It’s the contemporary country spin on the chicken or the egg: Is the band trying to be heard over Martina, or is Martina trying to be heard over the band?     Grade:  B-

Ben Foster:

It’s not inherently a bad song, even though cancer songs are easy to dismiss as pandering.  The throwaway chorus is the weakest part of the lyric, but the verses include an added level of detail and specifity that set the lyric above some of Martina’s past inspirational anthems.  The woman is 38 years old.  She has three children.  She loses her breasts to the cancer.  That helps make the story seem like an actual story instead of a vaguely-developed concept.

The production is what kills it.  It’s so typical.  So expected.  We hear the cello run through the opening verse, the rising string section, and then a predictably overdramatic finish with Martina belting it out for all it’s worth.  Lyrically, this song is better than many of the Martina power ballads that have preceded it, but the arrangement causes it to run together with all the rest.  Sonically, it’s nearly indistinguishable from Martina’s 2007 hit “Anyway.”

This single is particularly disappointing coming in the wake of the witty and off-beat “Teenage Daughters,” which dramatically heightened my expectations for Martina’s new album, and makes “I’m Gonna Love You Through It” seem like a definite step backwards.  I’m still holding out a glimmer of hope that Martina’s new album as a whole will favor edgy, interesting material in the vein of “Teenage Daughters,” and that “I’m Gonna Love You Through It” will prove to be only an isolated misstep.  But I can’t say I’m overly optimistic.  Grade:  C+

Listen:  I’m Gonna Love You Through It

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The 30 Day Song Challenge: Day 11

Today’s category is…

A Cheating Song.

Here are the staff picks:

Kevin Coyne: “(Margie’s at) The Lincoln Park Inn” – Bobby Bare

Proof that while the other woman can sometimes sound sympathetic, there’s no getting around the fact that the guy is a heel, allowing his selfishness to wreck the lives at home and at the Lincoln Park Inn.

Leeann Ward: “Phones Are Ringin’ All Over Town” – Martina McBride

Country music is rife with the greatest cheating songs, but the one that’s running through my head now is Martina McBride’s “Phones Are Ringing All Over Town.” I love the frenzied way the desperate man tries to live in his denial that his wife has had enough of his cheating ways by calling everyone he can think of to try to find her. Sucker!

Dan Milliken: “Oh, Sweet Temptation” – Gary Stewart

That signature tremble in Stewart’s voice works wonders here as he considers fooling around with a married woman. It’s part nervousness, part gaspy adrenaline, and of course very part self-loathing. Mmm, country.

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Classic Country Singles: Randy Travis, “Three Wooden Crosses”

Three Wooden Crosses
Randy Travis
2002

Written by Doug Johnson and Kim Williams

During the first decade of the twenty-first century, the antiseptic depictions of faith that have dominated contemporary Christian music began to seep in to country music.

This perception created records both good (“Jesus, Take the Wheel”) and bad (“The Little Girl”), but most of them were bland, adding going to church on Sunday or praying as just one of the token traits of southern life, no more or less significant than the fried chicken or football game that followed the morning services.

In one of the genre’s great ironies, Randy Travis had crossed over to contemporary Christian music, having had little luck on the radio since the late nineties.  He brought country music’s love of fallen angels along with him, and with “Three Wooden Crosses”, he managed to found his way back to the top of the country charts without even trying.

It starts off like an off-color joke that shouldn’t be told in polite company, let alone on the radio dial next to Martina McBride’s “Blessed” and Craig Morgan’s “That’s What I Love About Sunday”:  “A farmer and a teacher, a hooker and a preacher, ridin’ on a midnight bus bound for Mexico.”  The story that unfolds reveals that one of these four travelers will be instrumental in spreading the Good News for a long time to come.

But because it manages to humanize all four of them along the way, revealing how each of them helped make the world a better place, its ultimate message is that our lives are best defined by what we do when we’re at our best, not by the labels that may be assigned to us through occupation or personal choices.

httpv://www.youtube.com/watch?v=baP79rs9P7c

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Single Review: Martina McBride, “Teenage Daughters”

This is the Martina McBride that I was really into when I was a teenager.

Well partially, at least. I love the huskiness of her voice, which I haven’t heard on record since her Wild Angels artistic peak. There’s none of the earnestness that has characterized her work ever since, and you’d actually have to remix “Teenage Daughters” quite a bit to get it to fit on AC radio.

Why on earth are there “do da doo doos” popping up in the middle of an otherwise charmingly resigned number about the realities of being the parent of a teenage girl? I guess they need something for the critics to poke a stick at.

But the lack of a glossy sheen and the palpably real vocal performance are more than enough to make this a winning preview of her first release for Republic Nashville. Can’t wait to hear the rest.

Grade: B+

Listen: Teenage Daughters

 

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Grammy Awards 2011: Staff Picks & Predictions

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.

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2010 CMA Awards: Staff Picks and Predictions

When the nominees were announced in August for the 44th annual CMA Awards, they sparked a firestorm of headlines —and thoughtful commentary by critics and fans alike— thanks to the CMA voters’ surprisingly bold moves. It’s all about change this year, as the voters revamped the ballot with a slew of fresh faces in almost all of the big categories.

How will it all play out? We’ll know for sure on Wednesday at 8pm Eastern, but before Gwenyth Paltrow throws on her cowboy boots, check out our staff picks and predictions and join the discussion in the comments below. And be sure to drop by Wednesday night for all of the CU live blog madness!

Entertainer of the Year

Should Win:

  • Lady Antebellum
  • Miranda Lambert – Kevin
  • Brad Paisley
  • Keith Urban
  • Zac Brown Band – Leeann, Dan, Tara

Kevin:  Among the five nominees, Miranda Lambert has best represented the genre this year.

Leeann: I’m torn between Lambert and the Zac Brown Band as most deserving this year. I recently saw Lambert’s show and wasn’t incredibly impressed, however. While I have not yet attended a ZBB show, theirs is one of the few spots that I look forward to at awards shows these days. Moreover, I’m impressed by how much of a following they had even before they made any mainstream records.

Dan: Of these five, Zac Brown Band had the second-most success this year (after Lady A) and made the second-best music (after Lambert), so that’s pretty good standing. And I feel like giving this award to a grassroots act would be a good way for the industry to greet the future.

Tara: I’m consistently impressed by Zac Brown Band’s live performances, and it would be really refreshing to see them win – so I’ll go with them. (But I’m still disappointed that the first year my head and heart align on Carrie Underwood deserving an EOTY award, I can’t support her. I’m holding out for 2012…)

Will Win:

  • Lady Antebellum
  • Miranda Lambert – Tara
  • Brad Paisley – Kevin, Leeann, Dan
  • Keith Urban
  • Zac Brown Band

Kevin: I’ve probably learned nothing from last year’s Swift sweep by going with Paisley again, but he’s the only nominee of veteran stature who hasn’t won yet.

Leeann: I can’t imagine that Paisley won’t finally win this one.

Dan: I was going to guess Lady A, since they’re sort of 2010’s “flavor of the year” the way Taylor Swift was 2009’s. But when I think about it, Swift’s ascent was greater and more gradual, and she stood in contrast to the rest of her nominee pool (four male veterans) in a way Lady A don’t with theirs (in which they’re one of three new competitors). So, Paisley.

Tara: I have no rationale. My gut says Lambert.

Male Vocalist of the Year

Should Win:

  • Dierks Bentley – Kevin, Leeann, Dan, Tara
  • Brad Paisley
  • Blake Shelton
  • George Strait
  • Keith Urban

Kevin: Bentley made the best music this year.

Leeann: Bentley may not have the best technical voice out of these nominees, but he has the most interesting and distinctive of them, which is always something that I gravitate toward. Also, I agree with Kevin that he’s made the best music this year.

Dan: Shelton and Bentley are the only ones in this pool who made significant career strides this year – Shelton at radio, and Bentley creatively. Since I’m backing someone else in the Album category, this is where I’d like to see Bentley recognized for following his muse.

Tara: I guess Up on the Ridge is as good a reason as any to fall off the Brad-for-MVOTY bandwagon. He’s a close second for me, though.

Will Win:

  • Dierks Bentley – Kevin, Dan
  • Brad Paisley – Leeann, Tara
  • Blake Shelton
  • George Strait
  • Keith Urban

Kevin: I can see the roots album giving Bentley an edge. Then again, Paisley could just repeat again, or Shelton may suddenly have deep support among voters. I say, Bentley by a nose.

Leeann: I think that voters will reflexively give this one to Paisley again.

Dan: I’ll ditto Kevin.

Tara: I can’t really see Paisley losing this one, but I think if he does lose to Bentley, it’ll be a telling moment.

Female Vocalist of the Year

Should Win:

  • Miranda Lambert – Kevin, Leeann, Dan
  • Martina McBride
  • Reba McEntire
  • Taylor Swift
  • Carrie Underwood – Tara

Kevin: Underwood and McEntire are the women who made my favorite singles from the eligibility period, but Lambert’s the only one who hasn’t won this award.  She’s not overdue, but she’s due.

Leeann: Kevin’s right that Lambert is due to win this award now, not to mention that she’s my favorite female singer out of the bunch.

Dan: Lambert still isn’t at Underwood’s sales level, much less Swift’s, and I don’t see her catching up before traditional music sales die out altogether. Doesn’t matter, though: her habit of making creative music will sustain her regardless of industry conditions, and will elevate the genre in the long run. It’s time to look ahead.

Tara: I’m 50/50 on Lambert and Underwood. I’m not sure how to balance Lambert’s long overdue mega-year against Underwood’s continuous stream of solid success, ambassadorship and artistic growth. I’ll be happy either way, but personal investment’s got me in Underwood’s camp.

Will Win:

  • Miranda Lambert – Kevin, Dan, Tara
  • Martina McBride
  • Reba McEntire
  • Taylor Swift
  • Carrie Underwood- Leeann

Kevin: I’d be shocked if Lambert lost, and can’t even make a guess as to who she’d lose to, should she somehow lose.

Leeann: It’s between Lambert and Underwood, but I give Underwood the edge, especially since it’s somewhat surprising that she didn’t get an Entertainer nomination. Although Lambert has gained popularity in the past year, Underwood is still one of the two biggest females in the business and I refuse to predict that Swift will win the award.

Dan: Lambert’s had enough mainstream success this year to give tasteful voters an excuse to give her some props.

Tara: The voters love them some Lambert this year, and I think of all her nominations, this is the one she’s got in the bag.

Vocal Duo of the Year

Should Win:

  • Brooks & Dunn
  • Joey + Rory – Kevin, Leeann, Dan, Tara
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland

Kevin: I’m assuming “Stuck Like Glue” was after the eligibility period, so I think actually making some music over the year is important. Joey + Rory are the only duo I like who have yet to win.

Leeann: I simply like them the most, but I know they don’t have a chance.

Dan: I mean, why not? Nobody on this ballot has done much but tour.

Tara: I’m not very excited about any of these acts right now, to be honest. It would just be heartwarming to see Joey + Rory pick this one up.

Will Win:

  • Brooks & Dunn – Kevin, Dan
  • Joey + Rory
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland – Leeann, Tara

Kevin: Sugarland’s year off helped guarantee a B&D victory lap, which would probably have happened anyway.

Leeann: It’s between Brooks & Dunn and Sugarland. I should just pick B&D because of their retirement, but I’m still going with Sugarland because of their popularity.

Dan: Brooks & Dunn, unless voters ignore the eligibility period and stick with Sugarland.

Tara: Isn’t the Brooks & Dunn retirement thing kind of old news by now, or am I just out of touch?

Vocal Group of the Year

Should Win:

  • Lady Antebellum – Tara
  • Little Big Town
  • Rascal Flatts
  • The Band Perry
  • Zac Brown Band – Kevin, Leeann, Dan

Kevin: Let’s start getting some variety in this category, instead of having Lady A own it for five years.

Leeann: They’re the only group that I like right now.

Dan: I’ll probably be rooting for Little Big Town come ACM season, but for now…

Tara: I don’t want Lady A to own this for five years, either, but I do think they deserve to win this year. At least in my opinion, their huge success on the charts and with album sales can be attributed much to their ability to (I know, I know – I’m a broken record) hone in on specific emotion and deliver it in a way that people can really connect with. There’s some meat (and a heck of a lot of potential) behind their success that tends to go unnoticed.

Will Win:

  • Lady Antebellum – Kevin, Leeann, Dan, Tara
  • Little Big Town
  • Rascal Flatts
  • The Band Perry
  • Zac Brown Band

Kevin: Lady A and Zac BB are both very popular with voters, but I’m thinking that this is the only race where voters can reward Lady A for dominating at retail this year.

Leeann: Ditto to Kevin.

Dan: New Artist will be ZBB’s consolation prize.

Tara: …And I think the voters will agree with my pick, if not for the same reasons.

New Artist of the Year

Should Win:

  • Luke Bryan
  • Easton Corbin
  • Jerrod Niemann
  • Chris Young – Leeann
  • Zac Brown Band – Kevin, Dan, Tara

Kevin: ZBB is in another league, which makes me wish they still called this the Horizon Award.

Leeann: It’s weird to see ZBB here considering their nominations elsewhere, so I think that Chris Young has the most potential of the remaining nominees.

Dan: I’d love to see Young take this, but ZBB can’t be denied.

Tara: This is a great line-up, but there’s no question that ZBB deserves this win.

Will Win:

  • Luke Bryan
  • Easton Corbin
  • Jerrod Niemann
  • Chris Young
  • Zac Brown Band – Kevin, Leeann, Dan, Tara

Kevin: ZBB is nominated for Entertainer of the Year, much like Ricky Skaggs was when he won Horizon in 1982. (Skaggs also won Male Vocalist, which means I may have to rethink my pick for Vocal Group, too.)

Leeann: Kevin’s argument is too compelling not to follow. Also, they are the most popular of the nominees, therefore, probably the most deserving.

Dan: Everyone here but Niemann has had a significant breakthrough. With ZBB in the mix, though, it’s no contest.

Tara: It’s a funky set-up to have ZBB nominated for both the top and bottom (figuratively) prizes, and I think this one will play out exactly the way Kevin explained it.

Album of the Year

Should Win:

  • Dierks Bentley, Up on the RidgeLeeann
  • Lady Antebellum, Need You Now
  • Miranda Lambert, Revolution – Dan, Tara
  • George Strait, Twang
  • Carrie Underwood, Play OnKevin

Kevin: I have all five of these albums, and Underwood’s is the one that I listen to the most, with Strait a not-too-close second. In 2010, of course, “listening to an album” really means “how many songs do I pull off the album and put on a play list,” which has Underwood ahead by three tracks.

Leeann: If I follow Kevin’s test, Bently wins with Lambert as a close second. Bentley’s is, hands down, my favorite album of these choices. I’d love to see something this different from the mainstream win.

Dan: Also employing Kevin’s test, I flip-flop Leeann’s first and second choices. Only about two thirds of Revolution click for me a year later, but those two thirds have helped redefined what I thought modern country could be (still flipping about “Me and Your Cigarettes”), and the stray third at least tried.

Tara: I’m not going to follow Kevin’s test: I don’t play Revolution quite as much as three of the other albums on here, but I feel it’s the most deserving. It’s sharp, smart and an excellent example of an artist taking her potential by the horns.

Will Win:

  • Dierks Bentley, Up on the Ridge
  • Lady Antebellum, Need You Now
  • Miranda Lambert, RevolutionKevin, Leeann, Dan, Tara
  • George Strait, Twang
  • Carrie Underwood, Play On

Kevin: I really do think Lambert will sweep. I think she should’ve won for her last album, which wasn’t even nominated, but I’m not going to complain about an ambitious album getting the prize.

Leeann: I’m guessing either Lambert or Underwood. Although Lambert has the better album, Underwood has the slight edge because it sold better. I wouldn’t be especially surprised if Lady A takes it though.

Dan: Seems to me like a toss-up between Lady A’s commercial favorite and Lambert’s critical one. Lambert?

Tara: This is Lambert’s to lose, but I wouldn’t be too surprised if Lady A (or maybe Bentley?) snatched it.

Single of the Year

Should Win:

  • Easton Corbin, “A Little More Country Than That”
  • Lady Antebellum, “Need You Now”
  • Miranda Lambert, “The House That Built Me” – Kevin, Leeann, Dan, Tara
  • Miranda Lambert, “White Liar”
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone”

Kevin: It’s the big chunk of meat in a category of mashed potatoes and candied apples.

Leeann: Kevin just made me really hungry, therefore, kind of distracted. It’s a good thing that my choice doesn’t need justification then.

Dan: “Need You Now” had the biggest impact, of course, but “The House That Built Me” was no slouch either – four weeks at #1 – and was arguably the riskiest, most rewarding release. Also of note: she sang it real pretty.

Tara: “Need You Now” and “The House That Built Me” are performed equally well, but “House” is the better-written song. I’ll go with “House” on the basis of that, but I do think country music will be represented justly either way. Both songs resonate with pure, compelling sentiment.

Will Win:

  • Easton Corbin, “A Little More Country Than That”
  • Lady Antebellum, “Need You Now” – Dan, Tara
  • Miranda Lambert, “The House That Built Me” – Kevin, Leeann
  • Miranda Lambert, “White Liar”
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone”

Kevin: I think Lady A would have a better shot if they hadn’t won last year for “I Run to You.”

Leeann: It’s simply the clear winner.

Dan: Again, somewhat for diversity’s sake, I’ll guess that many voters have already forgotten about “I Run to You” – I certainly have – and will use this category to recognize the biggest hit, while they use Song to recognize the best one.

Tara: I’m jumping on Dan’s train…

Song of the Year

Should Win:

  • “A Little More Country Than That” – Rory Lee Feek, Don Poythress & Wynn Varble
  • “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott
  • “The House That Built Me” – Tom Douglas & Allen Shamblin – Kevin, Leeann, Dan, Tara
  • “Toes” – Zac Brown, Wyatt Durrette, John Hopkins & Shawn Mullins
  • “White Liar” – Natalie Hemby & Miranda Lambert

Kevin: Overall, I think that “Need You Now” is a better Single than Song, and that “The House That Built Me” is a better Song than Single, but “House” is better than “Need” on both counts.

Leeann: I’m just being repetative now. It’s the best single and song of the year.

Dan: It’s the deepest-cutting of the five and the most unique.

Tara: “The House That Built Me” is, quite simply, beautifully written.

Will Win:

  • “A Little More Country Than That” – Rory Lee Feek, Don Poythress & Wynn Varble
  • “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott – Kevin
  • “The House That Built Me” – Tom Douglas & Allen Shamblin – Leeann, Dan, Tara
  • “Toes” – Zac Brown, Wyatt Durrette, John Hopkins & Shawn Mullins
  • “White Liar” – Natalie Hemby & Miranda Lambert

Kevin: Here’s where they can honor “Need You Now” without shortchanging Lambert.

Leeann: I just see “House” sweeping in all possible categories.

Dan: They often manage to pick the actual best song of the five, especially when that song is also the most “serious.”

Tara: This just seems way to obvious; I don’t see how the voters could bypass the most clearly deserving song.

Musical Event of the Year

Should Win:

  • Dierks Bentley featuring Jamey Johnson & Miranda Lambert, “Bad Angel” – Tara
  • Kenny Chesney with Dave Matthews, “I’m Alive”
  • Alan Jackson with Lee Ann Womack, “‘Til the End” – Leeann, Dan
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone” – Kevin
  • Zac Brown Band featuring Kid Rock, “Can’t You See”

Kevin: I don’t find any of these five songs particularly compelling, so I’ll go with the two artists who are longest overdue for some CMA love.

Leeann: I’m not big on any of these either, but the Jackson/Womack collaboration is the one I like the most if I have to choose.

Dan: I’d be fine with either “Til the End” or “Bad Angel”. Whatevs.

Tara: The Jackson/Womack song falls squarely within my typical taste, but “Bad Angel” gets under my skin – in a good way. It’s just a really cool record.

Will Win:

  • Dierks Bentley featuring Jamey Johnson & Miranda Lambert, “Bad Angel”
  • Kenny Chesney with Dave Matthews, “I’m Alive”
  • Alan Jackson with Lee Ann Womack, “‘Til the End”
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone”- Kevin, Leeann, Dan, Tara
  • Zac Brown Band featuring Kid Rock, “Can’t You See”

Kevin: Its presence in the Single category makes “Hillbilly Bone” the most likely winner.

Leeann: It’s the most mainstream of all the choices.

Dan: “Bad Angel” could play a welcome spoiler, since all three of the artists behind it command a lot of respect right now. I still see this going to the hit, though.

Tara: I’m predicting the big boys will win this one. It’s a decent song, but it makes me laugh that it gets as much love as it does – I mean, this is the song that has Adkins admitting that he’s “always wanted to sing a bone song”…!

Music Video of the Year

Should Win:

  • Lady Antebellum, “Need You Now”
  • Miranda Lambert, “The House That Built Me”
  • Miranda Lambert, “White Liar” – Kevin, Dan, Tara
  • Brad Paisley, “Water”
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone”

Kevin: Lambert made the two best clips, with the humor of “Liar” outpacing the literalism of “House.”

Dan: The “House” video is beautifully conceived and directed, but somehow the “White Liar” one just sticks out more. Maybe it’s because “White Liar” is a thinner song, so the video has more of a chance to establish its own identity.

Tara: The “White Liar” video is the brightest and most creative of the bunch.

Will Win:

  • Lady Antebellum, “Need You Now”
  • Miranda Lambert, “The House That Built Me”
  • Miranda Lambert, “White Liar” – Kevin, Dan, Tara
  • Brad Paisley, “Water”
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone”

Kevin: I think “White Liar” has won all the video awards this year, so I guess it will win again.

Dan: This is the logical place to reward the other Lambert single the CMA liked this year.

Tara: One of Lambert’s videos will win for sure. My best guess is “White Liar” since it’s won before, like Kevin said.

Musician of the Year

Should Win:

  • Paul Franklin (steel guitar) – Kevin, Leeann, Dan, Tara
  • Dann Huff (guitar)
  • Brent Mason (guitar)
  • Mac McAnally (guitar)
  • Randy Scruggs (guitar)

Kevin: Paul Franklin is the nominee I’m rooting for the most this year. Give the man, and the steel guitar, some long overdue recognition!

Leeann: It’s the steel guitar for heaven’s sake! It should be a no-brainer, even though it’s clearly not.

Dan: I won’t pretend I know what’s going on. I’m just going to root for the guy who hasn’t won yet until he finally does.

Tara: How can you pass up the steel guitar?

Will Win:

  • Paul Franklin (steel guitar)
  • Dann Huff (guitar)
  • Brent Mason (guitar)
  • Mac McAnally (guitar) – Kevin, Leeann, Dan, Tara
  • Randy Scruggs (guitar)

Kevin: Mac McAnally won the last two years, so I guess he’s the favorite. Did I mention that Franklin is 0-for-17 going into this year’s ceremony?

Leeann: I suppose its a habit to give it to McAnally at this point. So, why should I be so bold as to predict anyone else?

Dan: No justice!

Tara: Just going off of pattern here.


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