Of course, it’s not just the Americana acts that can’t get radio play these days. Even top-selling albums by Scotty McCreery and Alison Krauss & Union Station weren’t embraced.

Country Universe editors and contributors each submitted a list of their ten favorite albums of 2011.  31 different albums were included on our lists, and over the next two days, we’ll share with you our collective top twenty.

Top Twenty Albums of 2011, Part One: #20-#11

#20
Beat the Devil and Carry a Rail
Noam Pikelny

His tenure with the Punch Brothers and his winning of the first annual “Steve Martin Prize for Excellence in Banjo and Bluegrass” in 2010 both earned Noam Pikelny the clout to release Beat the Devil and Carry a Rail, his second solo album and first since 2004. Joined by an all-star roster of fellow pickers, Pikelny’s mostly instrumental set is a showcase both for its lead artist’s extraordinary technical skills and for the banjo’s wide-ranging potential. – Jonathan Keefe

Individual Rankings:  Jonathan – #4

Recommended Tracks: “Fish and Bird” featuring Aoife O’Donovan, “Boathouse on the Lullwater,” “My Mother Thinks I’m a Lawyer”

#19
The King is Dead
The Decemberists

The indie favorites take their hyper-literate brand of folk-rock for a rustic spin, achieving new concision in the process. Colin Meloy’s wild narratives and wilder lexical choices sound right at home in these short-and-sweet song designs, and the Americana field is richer for having them. – Dan Milliken

Individual Rankings: Dan – #4

Recommended Tracks: “Don’t Carry It All,” “June Hymn”

#18
Concrete
Sunny Sweeney

That solo women disappeared from country radio was one of 2011′s major talking points within the genre, but Sunny Sweeney’s Concrete provided some of the most compelling evidence that it wasn’t a lack of strong material that kept female artists off radio playlists. Balancing a keen traditionalist bent with a thoroughly modern point-of-view, Sweeney’s fully-drawn characters and clever spins on familiar country tropes proved that an album that sounds “radio friendly” doesn’t have to be light on actual substance or craft. – Jonathan Keefe

Individual Rankings: Ben – #3

Recommended Tracks: “Amy,” “From a Table Away,” “Fall for Me”

#17
It’s Already Tomorrow
Foster and Lloyd

Their first time around, Foster and Lloyd were one of the coolest country acts going, blending in a love of traditional country music with some ’60s post-British Invasion rock vibes. It’s Already Tomorrow, their first album in 20 years, shows an impressive return to form. Radney Foster and Bill Lloyd have released some terrific solo albums, but there is a definite magic that happens when they record as a duo. – Sam Gazdziak

Individual Rankings: Sam – #2

Recommended Tracks: “Picasso’s Mandolin,” “That’s What She Said,” “Can’t Make Love Make Sense”

#16
This is My Blood
The Dirt Drifters

As mainstream country music becomes increasingly slick and polished, it’s a refreshing change to hear something gritty and rough around the edges. The Dirt Drifters’ debut on Warner Bros. certainly qualifies. If you’re looking for country-rock that takes its cue from run-down country roadhouses instead of ’80s arena rock, this album is for you. – Sam Gazdziak

Individual Rankings: Sam – #3; Dan – #10

Recommended Tracks: “Always a Reason,” “Married Men and Motel Rooms,” “Hurt Somebody”

#15
Ghost to a Ghost/Gutter Town
Hank III

Hank III’s entire artistic persona is built on indulging in every type of excess he can think of, so it was hardly a shock when, for his first recordings after a less-than-amicable departure from Curb Records, he dropped four full-length albums of new material on the same day. While not all of his ideas are good ones– the less said about Cattle Callin’, the better– the double-album Ghost to a Ghost / Gutter Town proves that Hank III is driven to his spectacular highs not just by the various recreational drugs circulating through his bloodstream but also by a real fearlessness and creativity and a sense of respect for his bloodline. – Jonathan Keefe

Individual Rankings: Jonathan – #1

Recommended Tracks: “Don’t Ya Wanna,” “Musha’s,” “Dyin’ Day”

#14
Ghost on the Canvas
Glen Campbell

A late-in-life swan song by an icon acutely aware of their own mortality. That’s a fitting description of so many of the best country albums in recent years. This is the best of that subgenre since Porter Wagoner’s Wagonmaster. – Kevin John Coyne

Individual Rankings: Kevin – #5; Dan – #6

Recommended Tracks: “There’s No Me…Without You”, “Ghost on the Canvas”

#13
Chief
Eric Church

On the heels of an album that was largely a hit or miss affair, Church delivers a surprisingly electric third album, marked by its edgy sonic splash. But while its spin on country rock is undeniably enticing –a funky mix of swampy, trippy and punchy—the album’s soul is Church himself, a more believable artist this time around than most of his contemporaries. Because for all its hard ass sentiment, Chief actually walks the walk, as authentic as it is audacious. Outlaw in the making? Probably, but don’t tell Church I said so. – Tara Seetharam

Individual Rankings: Tara – #4; Sam – #6; Leeann – #10; Jonathan – #10

Recommended Tracks: “Hungover & Hard Up,” “Keep On,” “Creepin’”

#12
Long Line of Heartaches
Connie Smith

What more can you ask for? Purely straightforward and unadulterated country songs delivered by the finest vocalist the genre has ever been privileged to call its own. Smith’s own co-writes with husband and producer Marty Stuart (The title track, “I’m Not Blue,” “Pain of a Broken Heart”) sit comfortably alongside top-notch cover material penned by Harlan Howard, Johnny Russell, and Dallas Frazier, all backed by the sweet sounds of fiddle and steel aplenty. Long Line of Heartaches is a beautiful reminder of what country music once was, and could be again. – Ben Foster

Individual Rankings: Ben – #2; Jonathan – #5

Recommended Tracks: “Long Line of Heartaches,” “I’m Not Blue,” “Ain’t You Even Gonna Cry”

#11
Your Money and My Good Looks
Gene Watson and Rhonda Vincent

There was no chance that this collaboration of straight up country songs between Gene Watson and Rhonda Vincent was going to garner any attention from mainstream country music outlets. However, thanks to memorable songs, pure country production and Watson and Vincent reverently following the spirit of classic country duet albums of the past, this project was surely one of the stand out albums of the year. – Leeann Ward

Individual Rankings: Leeann – #2; Ben – #5

Recommended Tracks: “You Could Know as Much from a Stranger,” “My Sweet Love Ain’t Around”

He enjoyed a brief period of radio success, but Stuart’s legacy was cemented when he left the commercialism behind and embraced the country concept album.

His career started on the independent labels Ridge Runner and Sugar Hill, but he paid the bills by playing in the band of his father-in-law, Johnny Cash.   When the major labels came calling, he left Cash’s road show.

A stint on Columbia produced little notable music, and his furor over Cash being dropped by the label derailed his contract with the company.  After signing with MCA, he enjoyed a few radio hits in the early nineties.  His Rockabilly style sounded great on the radio, but he was just as well known for the road tavern country duets that he performed with Travis Tritt.

After a pair of albums for MCA failed to produce a major hit, Stuart produced The Pilgrim in 1999.  While its commercial failure led to his dismissal from the MCA roster, the concept album laid the groundwork for the critically acclaimed work that he would produce in the years that followed.

While exploring styles ranging from classic country to Southern gospel, Stuart slowly emerged as an elder statesman of the genre.   He collected rare artifacts from country music history, hosted a cable show that showcased country legends, and produced comeback albums for Porter Wagoner and Connie Smith.

As a member of both the Grand Ole Opry and the board of the Country Music Foundation, Stuart continues to preserve the genre’s history when both on and off the stage.

Essential Singles:

• Hillbilly Rock, 1990
• ‘Til I Found You, 1991
• Tempted, 1991
• The Whiskey Ain’t Workin’ (with Travis Tritt), 1991
• Burn Me Down, 1992
• This One’s Gonna Hurt You (For a Long, Long Time) (with Travis Tritt), 1992

Essential Albums:

• Hillbilly Rock, 1989
• Tempted, 1991
• The Pilgrim, 1999
• Soul’s Chapel, 2005
• Ghost Train: The Studio B Sessions, 2010

Next: #84. Uncle Dave Macon

Previous: #86. Nitty Gritty Dirt Band

100 Greatest Men: The Complete List

Connie Smith

Long Line of Heartaches

Connie Smith is hailed by many as the best vocalist in country music history, and that distinction is clearly warranted.  When it comes to tone, phrasing, and vocal power, the woman has no equal.  In listening to Long Line of Heartaches, her first album of new material since 1998, it would be a great understatement to say that she is still in fine voice.  Her voice may have picked up a few rough edges over the years, but she still posseses more than enough vocal chops to blow today’s hitmakers out of the water.

Perhaps one of the most important characteristics setting Smith head-and-shoulders above so many current artists is her firm grasp on one of the most important truths about great country music:  Sincerity comes before power.  “I believe that country music is the cry of the heart,” she says in the album’s liner notes.  “It spans the whole of our emotions from the ecstasy to the agony.  I believe the role of a singer is not just to perform, but to communicate this heart-felt cry to the audience.”

Right from the opening steel guitar chords of the title track, Long Line of Heartaches gives unshakable authority and authenticity to the above statements.  Husband Marty Stuart acts as producer for this twelve-track set, backing Smith with vintage-sounding traditional country arrangements that consistently allow her incomparable voice to be the center of attention.  The sound of this record is not far removed from the music of her 60′s heyday, yet it benefits from the clarity of sophisticated modern-day recording techniques.  She wringes every ounce of emotion from each song’s lyrics, bringing a weathered been-there-done-that pathos to her delivery of “Long Line of Heartaches” and “The Pain of a Broken Heart,” both co-written with Stuart (Smith shares writing credits on five of the album’s twelve tracks).

Today’s mainstream artist’s often lean toward positive uplifting material so as to be accepted by country radio, but they all too often seem to forget the fact that country music’s signature theme is heartache.  On this set, however, heartache is the central theme – treated often with undercurrents of pain and regret, but sometimes tinged with hope and dawning optimism.  In the beautiful “That Makes Two of Us,” written by Kostas with Patty Loveless and Emory Gordy, Jr., Smith expresses a desire to set aside past differences and to reconcile with her former lover, and seeks to find out if her feelings are requited, entreating “Don’t you think it’s time to let the healing start?”

On “Ain’t You Even Gonna Cry,” Smith is determined to walk out on an ill-fated relationship, completely self-assured of her decision, yet still taken back by the nonchalant ease with which her significant other watches her leave.  In contrast, she puts on a confident air on the album standout “I’m Not Blue,” yet the lyric and performance betray the fact that she is in denial of her true feelings. (“If you think there’s teardrops in my eyes/ They’re only raindrops from the sky… The truth gets hard to say when pride stands in the way/ So just let me lie to you/ I’m not blue) In addition to these fine selections, we are treated to a well-chosen cover of the Harlan Howard/ Kostas composition “I Don’t Believe That’s How You Feel.”

Complementing the high caliber of songwriting, Smith is joined by some talented musicians on this album, including the members of her longtime backing band The Sundowners.  Marty Stuart plays electric, acoustic, and hi 3rd guitars, while renowned steel player Robby Turner plays on six of the album’s tracks.  As a special treat in closing, Smith’s own daughters – Jodi Seyfried, Jeanne Jaynes, and Julie Barnick – sing background vocals on the album’s final track, the spiritual ballad “Take My Hand.”

Long Line of Heartaches triumphs artistically thanks to its unerring focus on song and storytelling above all else, thus drawing on Smith’s formidable vocal prowess without exploiting it.  It’s the same approach that has served Smith well throughout her Hall of Fame-worthy career.  The result is an album that ranks among the best of 2011, and that effectively builds on the already well-established legacy of Connie Smith.

The First Song You Remember Liking.

Here are the staff picks:

Tara Seetharam: “She’s Not Cryin’ Anymore” – Billy Ray Cyrus

Cyrus released “Achy Breaky Heart” when I was seven years old, and I fell for it. The upside? My mom bought me his Some Gave All cassette tape, and I fell in love with “She’s Not Cryin’ Anymore.” It was the first song in my life to grip me with emotion, which would later come to define my bond with music.

Kevin Coyne: “I Love Rock’ n Roll” – Joan Jett & The Blackhearts

I know that it was either this or “Physical”, but I’m pretty sure it was this one because I have foggy memories of this being turned up for my amusement in the car when I was a small child. This is what happens when you’re a child of the eighties.

Dan Milliken: “Keep on Dancing” – The Gentrys

This is just my best guess. My dad used to crank this oldie in our living room and literally swing me and my little sister around in the air to it when we were young. I sometimes wonder if my preference for uptempo material (regardless of actual emotional tone) was established right there.

Leeann Ward: The songs of Raffi

I don’t have a particular song in mind, but when I think about it, I realize that the first music that I remember really liking was from Raffi, a children’s’ singer. There was a particular cassette that I was obsessed with (recorded by my dad from the TV), which was a recording of a concert that aired on the Disney channel and subsequently released on CD a few years later.

As an adult when I revisited the album, along with Raffi’s Christmas album, I realized that the instrumentation closely resembled the sounds of country music. In fact, the country music community released a tribute to Raffi, which includes adorable recordings by the likes of Keith Urban, Marty Stuart, Kathy Mattea, Lee Roy Parnell, Lari White, Elizabeth Cook, Eric Heatherly, Alison Krauss and Asleep at the Wheel, among others.

My favorite track from the tribute is Raul Malo’s version of “Thanks A Lot” (not the Ernest Tubb song). Although I didn’t fall in love with country until I was a young adolescent, as I see it, loving Raffi music proves that I was wired to naturally love country music, even as a young child.

Male Country Vocal Performance: Keith Urban, “‘Til Summer Comes Around”

Country Duo/Group Vocal Performance: Lady Antebellum, “Need You Now”

Country Song: Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott, “Need You Now”

Country Collaboration with Vocals: Zac Brown Band featuring Alan Jackson, “As She’s Walking Away”

Country Instrumental Performance: Marty Stuart, “Hummingbyrd”

Bluegrass Album: Patty Loveless, Mountain Soul II

Americana Album: Mavis Staples, You Are Not Alone

Traditional Folk Album: Carolina Chocolate Drops, Genuine Negro Jig

Contemporary Folk Album: Ray LaMontagne And The Pariah Dogs, God Willin’ & The Creek Don’t Rise

Southern/Country/Gospel Bluegrass Album: Diamond Rio, The Reason

Traditional Gospel Album: Patty Griffin, Downtown Church

_____

Short Form Music Video: Lady GaGa, “Bad Romance”

Long Form Music Video: The Doors, When You’re Strange

Recording Package: The Black Keys, Brothers

Boxed Limited Edition Package: The White Stripes, Under Great White Northern Lights

Album Notes: Big Star, Keep an Eye on the Sky

Historical Album: The Beatles, Original Studio Recordings

Engineered Album, Non-Classical: John Mayer, Battle Studies

Remixed Recording: Madonna, “Revolver (David Guetta’s One Love Club Remix)”

Surround Sound Album: Michael Stern & Kansas City Symphony, Britten’s Orchestra

Instrumental Composition: Billy Childs, “The Path Among the Trees”

Instrumental Arrangement: John Scofield, Vince Mendoza & Metropole Orkest, “Carlos”

Instrumental Arrangement Accompanying Vocals: Christopher Tin, Soweto Gospel Choir & Royal Philharmonic Orchestra, “Baba Yetu”

Compilation Soundtrack Album: Crazy Heart

Score Soundtrack Album: Toy Story 3

Motion Picture, TV, Visual Media Song: Ryan Bingham & T. Bone Burnett, “The Weary Kind”

New Age Album: Kitaro, Sacred Journey Of Ku-Kai, Volume 4

Children’s Musical Album: Pete Seeger With The Rivertown Kids And Friends, Tomorrow’s Children

Children’s Spoken Word Album: Julie Andrews & Emma Walton Hamilton, Julie Andrews’ Collection Of Poems, Songs, And Lullabies

Spoken Word Album: Jon Stewart (With Samantha Bee, Wyatt Cenac, Jason Jones, John Oliver & Sigourney Weaver), The Daily Show With Jon Stewart Presents Earth (The Audiobook)

Musical Show Album: Billie Joe Armstrong, American Idiot (Featuring Green Day)

Hawaiian Music Album: Tia Carrere, Huana Ke Aloha

Native American Music Album: Various Artists, 2010 Gathering Of Nations Pow Wow: A Spirit’s Dance

Zydeco/Cajun Music Album: Chubby Carrier And The Bayou Swamp Band, Zydeco Junkie

Reggae Album: Buju Banton, Before The Dawn

Traditional World Music Album: Ali Farka Touré & Toumani Diabaté, Ali And Toumani

Contemporary World Music Album: Béla Fleck, Throw Down Your Heart , Africa Sessions Part 2: Unreleased Tracks

Dance Recording: Rihanna, “Only Girl (In the World)”

Electronic/Dance Album: La Roux, La Roux

Traditional Pop Vocal Album: Michael Bublé, Crazy Love

Latin Pop Album: Alejandro Sanz, Paraiso Express

Latin Rock/Alternative/Urban Album: Grupo Fantasma, El Existential

Tropical Latin Album: Spanish Harlem Orchestra, Viva La Tradición

Tejano Album:Little Joe & La Familia, Recuerdos

Norteño Album:Intocable, Classic

Banda Album:El Güero Y Su Banda Centenario, Enamórate De Mí

Gospel Performance: BeBe & CeCe Winans, “Grace”

Gospel Song: Jerry Peters & Kirk Whalum, “It’s What I Do”

Rock or Rap Gospel Album: Switchfoot, Hello Hurricane

Pop Contemporary Gospel Album: Israel Houghton, Love God. Love People.

Contemporary R&B Gospel Album: BeBe & CeCe Winans, Still

Engineering, Classical: TIE: Giancarlo Guerrero & Nashville Symphony Orchestra, Daugherty: Metropolis Symphony; Deus Ex Machina AND Eliesha Nelson & John McLaughlin Williams, Quincy Porter: Complete Viola Works

Orchestral Performance: Giancarlo Guerrero, Daugherty: Metropolis Symphony; Deus Ex Machina

Opera Recording:Deutsches Symphonie-Orchester Berlin; Rundfunkchor Berlin, Saariaho: L’Amour De Loin

Choral Performance: Riccardo Muti, conductor; Duain Wolfe, chorus master, “Verdi: Requiem”

Instrumental Solo w/Orchestra: Mitsuko Uchida, “Mozart: Piano Concertos Nos. 23 & 24″

Instrumental Solo w/o Orchestra: Paul Jacobs, “Messiaen: Livre Du Saint-Sacrement”

Chamber Music Performance:Parker Quartet, “Ligeti: String Quartets Nos. 1 & 2″

Small Ensemble:Jordi Savall, conductor; Hespèrion XXI & La Capella Reial De Catalunya, “Dinastia Borja”

Classical Vocal Performance:Cecilia Bartoli, “Sacrificium”

Classical Contemporary Composition: Michael Daugherty, “Deus Ex Machina”

Classical Crossover:Lucas Richman, Christopher Tin: Calling All Dawns

Producer of the Year, Classical: David Frost

Classical Album: Verdi: Requiem

Comedy Album: Lewis Black, Stark Raving Black

Contemporary Jazz Album: The Stanley Clarke Band, The Stanley Clarke Band

Jazz Vocal Album:Dee Dee Bridgewater, Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee

Improvised Jazz Solo: Herbie Hancock, “A Change is Gonna Come”

Jazz Instrumental Album: James Moody, Moody 4B

Large Jazz Ensemble Album: Mingus Big Band, Live At Jazz Standard

Latin Jazz Album: Chucho Valdés And The Afro-Cuban Messengers, Chucho’s Steps

Alternative Music Album: The Black Keys, Brothers

Traditional Blues Album:Pinetop Perkins & Willie ‘Big Eyes’ Smith, Joined At The Hip

Contemporary Blues Album: Buddy Guy, Living Proof

Rap Solo Performance: Eminem, “Not Afraid”

Rap Duo/Group Performance: Jay-Z & Swizz Beatz, “On to the Next One”

Rap/Sung Collaboration: Jay-Z & Alicia Keys, “Empire State of Mind”

Rap Song: Shawn Carter, Angela Hunte, Alicia Keys, Jane’t “Jnay” Sewell-Ulepic & Alexander Shuckburgh, “Empire State of Mind”

Female R&B Vocal Performance: Fantasia, “Bittersweet”

Male R&B Vocal Performance: Usher, “There Goes My Baby”

Duo/Group R&B Vocal Performance: Sade, “Soldier of Love”

Traditional R&B Vocal Performance: John Legend & The Roots, “Hang On In There”

Urban/Alternative Performance: Cee Lo Green, “F*** You”

R&B Song: John Stephens, “Shine”

R&B Album: John Legend & The Roots, Wake Up!

Contemporary R&B Album: Usher, Raymond V Raymond

Solo Rock Vocal Performance: Paul McCartney, “Helter Skelter”

Duo/Group Rock Vocal Performance: The Black Keys, “Tighten Up”

Hard Rock Performance: Them Crooked Vultures, “New Fang”

Metal Performance: Iron Maiden, “El Dorado”

Rock Instrumental Performance: Jeff Beck, “Hammerhead”

Rock Song: Neil Young, “Angry World”

Pop Collaboration with Vocals: Herbie Hancock, Pink, India.Arie, Seal, Konono No 1, Jeff Beck & Oumou Sangare, “Imagine”

Pop Instrumental Performance: Jeff Beck, “Nessun Dorma”

Pop Instrumental Album: Larry Carlton & Tak Matsumoto, Take Your Pick

Female Pop Vocal Performance: Lady Gaga, “Bad Romance”

Male Pop Vocal Performance: Bruno Mars, “Just the Way You Are”

Producer of the Year, Non-Classical: Danger Mouse

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.

At the end of the day, when nobody’s looking and I’m just alone, my favorite thing to do is get my mandolin or acoustic guitar and sit in the corner with one light bulb hanging down in the dark and sing about sick people or dead people.

Thoughts?

#10
Easton Corbin
Easton Corbin

With the charisma of Clay Walker and the chops of George Strait, Easton Corbin sauntered onto the mainstream country music scene with a hit song that –refreshingly– name-checked “country” in all the right ways. He needs no such affirmation, though, as his debut album is a collection of effortlessly neo-traditionalist songs, ripe with sincerity. It’s fair to compare Corbin to his obvious influences, but there’s something about the natural, youthful effervescence he brings to his music that makes it sparkle all on its own. – Tara Seetharam

#9
Freight Train
Alan Jackson

Like an old, trusted friend, Freight Train is easy to take for granted – and that’s a shame, because it’s as rousing as any of the boundary-pushing albums released this year. Jackson returns to his signature sound on this album, sinking comfortably into the set of twelve songs but never skimping on emotional investment. From the smoking “Freight Train” to the exquisite “Till the End” to the shuffling “I Could Get Used To This Loving Thing,” Jackson reminds us that his formula of bare-bones authenticity and quiet charm is as relevant and rewarding as ever. – TS

#8
I Am What I Am
Merle Haggard

You know what’s so great about a veteran country star acting their age? In the process, they prove that those on the latter end of their life are every bit as interesting – more so, really – than the young folks that dominate all forms of media today.

Haggard’s body may have aged.  His voice, maybe a little bit.  But his razor-sharp songwriting is still as potent as ever, whether he’s writing a love song, reflecting on politics on his lifetime, or simply telling the story of an entire life through the house that they never got around to moving up from.  The album’s title track would’ve sounded defiant in his younger years, but today, it’s as calm and confident a statement of self-assurance as Frank Sinatra singing “My Way.” – Kevin Coyne

#7
The Reason Why
Little Big Town

A welcome return by the most sonically unique act in mainstream country. Several reviews of this album have pegged Karen Fairchild as the group’s star; I say all four members are compelling soloists, and the real star is still the harmonies, which imbue each song they touch with unique textures and communal warmth.

The title track or “All the Way Down” would feel like slight filler in most artists’ hands; with Little Big Town, they become campfire anthems. “Rain on a Tin Roof” could be a snoozer; with Little Big Town, you actually hear the rain as the voices swell. They’re even better when they and producer Wayne Kirkpatrick take chances with the arrangements; check the groovy beat driving “Runaway Train” or the swampy gospel trimmings of “Little White Church.”  Continued experimentation encouraged – though what’s here already sounds mighty fine. – Dan Milliken

#6
Lifted Off the Ground
Chely Wright

The spectrum of Lifted Off The Ground is wide, ranging from tender-to-the-touch to caustically honest to brilliantly clever (the fantastic “Notes to the Coroner”) – and that just describes its lyrics. Sonically, it’s a blast of sounds, expertly crafted but largely diverse. In the hands of another artist, the sum of all these mismatched parts might have been disastrous, but Wright is the glue that holds this album together, an artist staunchly committed to exploring her perspective, her emotions and herself, painful and messy though the process may be. The result is an album that cuts more deeply than perhaps anything else released this year. – TS

#5
Achin’ and Shakin’
Laura Bell Bundy

She can sing, she can write, and she’s got as clear a point of view that shines through so clearly it’s unmistakably her own.  Much has been made of the concept album set up – six Achin’ ballads, followed by six Shakin’ rockers.  But what could have been a gimmick, and certainly would’ve been with weaker material, ends up a timely reminder of the album as an art form in the first place.

In an era where albums are overly bloated with more songs than there are ideas, only to be whittled down to a few tracks cherry-picked for the iPod, Achin’ and Shakin’ demands to be listened to in sequence and in its entirety.  Not because it’s so deep and meaningful. Just because it’s pure entertainment. – KC

#4
Welder
Elizabeth Cook

Smart, frank, audacious and sneakingly sensitive, Welder feels like Elizabeth Cook properly claiming the spirit of country’s pioneering women as her own. Very much her own – who else could include one song called “Yes to Booty” and another called “Mama’s Funeral” on the same album and have them both totally work? It can be a bit of tonal whiplash if you’re the full-listen-through type, but the high quality, at least, is pretty consistent. – DM

#3
Ghost Train: The Studio B Sessions
Marty Stuart

Marty Stuart is lauded for his preservation of country music history. He’s even published a book of photos that essentially chronicles country music. So, it’s only fitting that he creates an album that recognizes the history of the music as well.

Ghost Train is a crisp collection of mostly original songs that hearkens back to the sounds of yesteryear while still managing to sound accessible to the modern listener. The arrangements are variations of what is generally accepted as traditional country music. Therefore, they’re not narrowed down to a single sound, but rather, the album represents several facets of the traditional side of country
music history.

As a result, the ghosts of country music legends can be heard on this project, including Johnny Cash, Porter Wagoner and Waylon Jennings. Not only are their signature sounds utilized at various points, but Cash and Wagoner both contributed in their own ways – Cash being the co-writer of the philosophically conscious “Hangman” (the last song that he wrote before he died) and Wagoner being the inspiration behind the mostly spoken “Porter Wagoner’s Grave.”

No song from this album was played on mainstream radio in 2010. However, by using mostly new and all engaging songs, Ghost Train is a wonderful lesson on where country music came from, even as it has drastically changed over the years. – LW

#2
The Guitar Song
Jamey Johnson

This generous 25-track album is divided into two discs: black for the darker songs and white for the lighter fare. While the black disc doesn’t get as bleak as some of the famously dark material on his previous album, it still covers difficult territory in loneliness, poverty, disappointment, heartbreak and the other themes that make a rich country song. The best of these songs include “Lonely at the Top” (a previously unrecorded Keith Whitley co-write), the dark and swampy “Poor Man’s Blues”, the covers of “Set ‘Em Up Joe” and “Mental Revenge” and the desperate “Can’t Cash My Checks.”

The white disc lightens up, but only as much as one might expect from the mostly morose Johnson. Life still isn’t all roses and sunshine, but we’re given relief thanks to glimpses of sensitivity, love and reminiscences, along with comparison to a dog (“Dog in the Yard”) and the personification of a guitar (“The Guitar Song”). The highlight of this disc is the live recording of “That’s Why I Write Songs”, as it pays tribute to his songwriting heroes.

As was the case with Johnson’s breakthrough album, That Lonesome Song (one of Country Universe’s Best Albums of 2008), The Guitar Song is not perfect. But like it is with the man and voice who sings these songs, it doesn’t aim to be perfect, which is the beauty of this album. There’s no glossiness, there’s no auto tune to make a rough voice smoother, and its purpose is neither to get people’s feet moving nor fists pumping. Instead, we’re allowed to have some fun, but we’re also required to face hard times and reality. – LW

#1
Up On the Ridge
Dierks Bentley

It’s admirable that Bentley took on an artistically challenging project that plucked him out of his comfort zone. It’s heartening that his intentions seem pure and firmly rooted in his passion for country music. And it’s inspiring that, as a once commercially successful artist, he’s daring the mainstream to pay attention to his oddball project – and maybe even embrace it.

But let’s be honest: none of this would have mattered much if the result hadn’t been an album as rich and vibrant as Up On The Ridge. Is it bluegrass or bluegrass-flavored? Heck if I know, but it’s so interesting -sonically, lyrically and collaboratively – that it transcends its classification. With its progressive mixture of sounds, voices and ideas, it strikes an intriguing balance of relevant and reverent, and that’s exactly what we need to move the country music genre forward. – TS

Part 1: #20-#11

]]> http://www.countryuniverse.net/2011/01/07/the-best-country-albums-of-2010-part-2-10-1/feed/ 8 http://www.countryuniverse.net/2010/09/12/premium-label/ http://www.countryuniverse.net/2010/09/12/premium-label/#comments Mon, 13 Sep 2010 02:13:37 +0000 Leeann Ward http://www.countryuniverse.net/?p=16699 September has a lot of album releases that I’m really enjoying or looking forward to. In fact, it’s the most lucrative month for music for my taste in quite some time. Last Tuesday (September 7), Rounder Records released The SteelDrivers’ second album, Reckless (which is pretty spectacular, by the way) and this week, they will be releasing Robert Plant’s follow up to his 2007 collaborative album with Alison Krauss, which was also released on Rounder. From the streaming preview that can be heard on NPR’s website until release day, the album is a wonderfully rootsy project helmed by Plant and Buddy Miller and includes guitar work from Darrell Scott. October will finally see the release of Joe Diffie’s bluegrass album, which is also to be released on the label.]]> September has a lot of album releases that I’m really enjoying or looking forward to. In fact, it’s the most lucrative month for music for my taste in quite some time.

Last Tuesday (September 7), Rounder Records released The SteelDrivers’ second album, Reckless (which is pretty spectacular, by the way) and this week, they will be releasing Robert Plant’s follow up to his 2007 collaborative album with Alison Krauss, also on Rounder. From the streaming preview that can be heard on NPR’s website until release day, the album is a wonderfully rootsy project helmed by Plant and Buddy Miller and includes guitar work from Darrell Scott. October will also finally see the release of Joe Diffie’s bluegrass album on the label.

When one learns that an album will be released through Rounder Records (which has recently been sold to Concord Music Group), it’s pretty much automatically expected that the project will be quality. Whether it’s The SteelDrivers, Robert Plant, Joe Diffie, John Mellancamp, Alison Krauss or Willie Nelson, it’s reasonable to assume certain aspects of a Rounder release, including that the album may even stray from a typical artist release to be more rootsy in approach, as is the case with the recent Willie Nelson and John Mellancamp albums, along with the upcoming Diffie project. More often than not, I can count on Rounder Records to please my musical sensibilities, even with unexpected artists, since I never expected that Robert Plant would be recording some of my favorite roots music.

As much as I love and count on Rounder Records to produce great music, my absolute favorite record company is Sugar Hill Records (owned by Vanguard Records). Incidentally, Joey+Rory will be releasing their anticipated second album through Sugar Hill on Tuesday (September 14). Additionally, Marty Stuart’s recent release, the excellent Ghost Train, was released through them as well. Other artist who have been associated with Sugar Hill include, but are not limited to: Nickel Creek, Ricky Skaggs, Guy Clark, Dolly Parton, Darrell Scott, Kasey Chambers and Shane Nicholson, The Duhks, Sarah Jarosz, and the list goes on. As with Rounder Records, many artists seem to release albums with Sugar Hill as a deviation from the music for which they are most popularly associated, as is the case with Dolly Parton, Ricky Skaggs, and even Rodney Crowell, who released his venerable The Houston Kid on the label.

Right now, it seems that my favorite record labels aren’t in the business of releasing music that we hear on mainstream country radio, though Joey+Rory are attempting to crack through. While I don’t have the inside knowledge to say that it doesn’t exist, we don’t hear about the red tape and politics that is ever present with major companies like, lets say, the infamous Curb Records, which has produced some rather publicly disgruntled artists, most notably Tim McGraw and the two Living Hank Williamses.

But when I was a kid, MCA Records was the label that seemed like the powerhouse record company for country music to me. Some of my favorite artists were on that label, including Trisha Yearwood, George Strait, Reba McEntire and, of course, Vince Gill. I admired the country roster of Arista as well, which included Alan Jackson, Diamond Rio, Radney Foster, and Blackhawk.

Along with reminding you about some good releases that have recently been released and will soon be available, this is the very long and self-indulgent way of getting to the question of:

What is the record label that you most admire and can count on to release your favorite music?

UPDATE: Thank you to everyone who entered the contest. The response was impressive. The randomly selected (random.org) winners are: 

Jake Kremmel, Lora Purcell, Bradley, Paul Dennis, and Rachel Summit

Congratulations to the winners. Emails will be sent to you shortly. However, if you’d like to make my job easier, feel free to contact me with your email address. Stay tuned for another giveaway very soon.   

As a virtuosic instrumentalist in both mandolin and guitar, Marty Stuart was one of the very talented artists whose peak occurred in the early nineties. While his chart success wasn’t as numerically present as many of his counterparts, his reverence for country music and its history has turned him into one of the most respected nineties country artists today.

Stuart has explored several facets of country music over the years, including rockabilly, traditional, and honky tonk. Now, he is paying his respects to traditional country music with his latest release called Ghost Train: The Studio B Sessions”, which will be released on August 24th. Along with 12 other quality tracks, the album includes a haunting song that Stuart wrote with Johnny Cash just four days before Cash’s death. From the perspective of a man who hanged people for a living, the song is called “Hangmen.” The other stand out song is called “Porter Wagoner’s Grave.”

As one of the summer releases that I’ve most been looking forward to, I am pleased to report that the album does not disappoint. Therefore, I am excited to announce that courtesy of Sugar Hill Records, Country Universe has five (5) copies of Ghost Train: the Studio B Sessions to give away to five lucky winners.

One of my favorite Marty Stuart projects is the concept album that explores Native American culture, specifically the plains Indians of the Dakota Badlands. To enter the drawing for a copy of Stuart’s new album, leave a comment that tells us about your favorite country concept album. If you don’t have a favorite concept album, tell us your favorite Marty Stuart song. As always, if you can’t comment on either of those topics, but are still interested in hearing the album, feel free to leave a comment anyway. All comments relevant to Marty Stuart will be eligible.

In order to get the album to the winners by release day, the contest will end Wednesday,  August 18, at midnight. Good luck.