It’s that time of year again! For each major category, we’ll look at who’s broken in since last year, who’s been booted out, plus some initial thoughts. As always, we invite you to share your own opinions in the comments. Without further ado:
Who’s In: Taylor Swift
Who’s Out: Sugarland
Snap Judgment: With Carrie Underwood and Sugarland a little out of the spotlight recently, it’s no shock to see the regular foursome of Chesney, Paisley, Strait and Urban prevail. Swift was a logical inclusion given her across-the-board dominance, but I gotta say that I’m surprised to see her acknowledged for it by the historically traditional-leaning CMA.
Who’s In: Darius Rucker
Who’s Out: Alan Jackson
Snap Judgment: Pretty predicable. Rucker has shown he can get serious spins at radio, which is probably what won him this slot over Jamey Johnson.
Who’s In: Reba McEntire
Who’s Out: Alison Krauss
Snap Judgment: Again, no big surprises. Martina always hangs in there somehow, doesn’t she?
Big & Rich
Brooks & Dunn
Joey + Rory
Who’s In: Joey + Rory
Who’s Out: The Wreckers (finally!), oddly not Big & Rich
Snap Judgment: I guess there has to be at least one defunct act in this category every year, huh?
Little Big Town
Zac Brown Band
Who’s In: Zac Brown Band
Who’s Out: Emerson Drive
Snap Judgment: I’m baffled to see the Eagles still here. I expect there will be a lot more shake-up in this category next year, with Love and Theft, Eli Young Band and The Lost Trailers all experiencing a rise in profile recently.
Zac Brown Band
Who’s In: Completely new line-up!
Snap Judgment: A strong group. Johnson, Rucker and Zac Brown Band are selling better than many of the veteran acts, so they’re the serious contenders this year, but all five nominees show great artistic potential.
Brad Paisley, American Saturday Night
Jamey Johnson, That Lonesome Song
Sugarland, Love On The Inside
Taylor Swift, Fearless
Keith Urban, Defying Gravity
Snap Judgment: Probably as good a line-up as you could’ve hoped for. Never thought I’d live to see a CMA category where I thought Keith Urban had the weakest offering!
“Chicken Fried” – Zac Brown Band
“I Run To You” – Lady Antebellum
“In Color” – Jamey Johnson
“People Are Crazy” – Billy Currington
“Then” – Brad Paisley
Snap Judgment: Sigh.
“Chicken Fried” – Zac Brown & Wyatt Durette
“I Told You So” – Randy Travis
“In Color” – Jamey Johnson, Lee Thomas Miller & James Otto
“People Are Crazy” – Bobby Braddock & Troy Jones
“Then” – Brad Paisley, Chris DuBois and Ashley Gorley
Snap Judgment: I mean, it’s not like Randy Travis ever had his own hit with “I Told You So” or anything.
“Cowgirls Don’t Cry” – Brooks & Dunn featuring Reba McEntire
“Down The Road” – Kenny Chesney with Mac McAnally
“Everything But Quits” – Lee Ann Womack with George Strait
“I Told You So” – Carrie Underwood featuring Randy Travis
“Old Enough” – The Raconteurs featuring Ricky Skaggs and Ashley Monroe
“Start A Band” – Brad Paisley with Keith Urban
Snap Judgment: How in the world did that Raconteurs record sneak in there? Props, CMA!
“Boots On” – Randy Houser
“Love Story” – Taylor Swift
“People Are Crazy” – Billy Currington
“Start A Band” – Brad Paisley with Keith Urban
“Troubadour” – George Strait
Snap Judgment: Not bad. Houser’s doesn’t have much, but the only one I outright dislike is Currington’s. It’s just another excuse for him to sit around looking scruffy on a beach.
I have to start with a disclaimer: I attended my first CMA Music Festival in Nashville, Tennessee, as a fan –a crazy, passionate, kid-in-a-candy-store fan– and nothing more. So rather than offer you a full review of the festival, which I don’t think I can adequately do, I instead present you with a narrow but meaningful sampling of my favorite memories from the week.
Dierks Bentley and Brad Paisley rock rain-soaked stadium until 2 a.m.
After a three-hour rain delay at LP Field Thursday night, Darius Rucker, Dierks Bentley and Brad Paisley played well into the morning to make up for the lost time. Despite the delay being somewhat poorly handled by management, an impressively large crowd of dedicated fans, draped in ponchos and drenched in humidity, waited around until after midnight for the concert to resume.
It was well worth the wait, as Bentley and Paisley delivered outstanding, high-energy performances and reminded me once again that there is legitimate, authentic talent in mainstream country music. In a fitting closing, Bentley joined Paisley on an extended version of his novelty hit “Alcohol,” during which the tourmates played on each other’s good-natured wit and kept the crowd on its feet until the last note.
Carrie Underwood soars on “Stand By Your Man”
In 2006, Carrie Underwood performed Tammy Wynette’s “Stand By Your Man” on the Grand Ole Opry stage, surprising Idol skeptics with her spot-on rendition. Three years later, she reprised her performance for the first time at her 2009 fan club party, as requested by her fans. She sang it brilliantly, with graceful conviction and emphasis on the natural “cry” in her voice, reminiscent of the female country greats.
The icing on the cake was Underwood’s admission that she’d love to record “Stand By Your Man” on a country classics album one day, along with an earlier admission that she’d been thinking about recording an album of hymns – two items high on most fans’ wish lists. Considering the other songs on her fan club party set list ranged from a rousing, acoustic “Sweet Child O’ Mine” to an impeccable “How Great Thou Art,” I think there are few limits to Underwood’s potential and depth as an artist, and I could not be more thrilled for her future in country music.
Tara falls in love with the Grand Ole Opry
I know, I know; it’s irrelevant to the festival, but the Opry was such an acutely special part of my Nashville experience that I just had to include it. I caught the Tuesday night show, featuring a wonderful mishmash of traditional and contemporary performances by artists such as the Charlie Daniels Band, Trace Adkins, Ricky Skaggs and Little Big Town.
But it was the entirety of the experience that really got to me: I was surprised to find that the Opry House itself, as a venue, is epic and intimate all at once, leaving you feeling like you’re experiencing something very grand that was crafted just for you. That personable quality, along with the Opry’s palpable energy and richly spiritual atmosphere, struck a particular chord inside me. Of all the live music venues I’ve been to, the Opry takes the cake.
The Judds reunion ends with an emotional “Love Can Build a Bridge”
I knew the rare mother-daughter reunion was going to be good when Naomi Judd joined Wynonna Judd on the LP Field stage sporting a hot pink, rhinestone-encrusted dress suit, and Wynonna turned to the audience, smirked and said: “some things never change.” And she was right, as the two masterfully charmed their way through a string of their 80s hits, ending with a poignant performance of “Love Can Build a Bridge.”
It’s a simple and incredibly sappy song, but it has timeless meaning, one that certainly wasn’t lost on the stadium crowd. The high point of the performance was the chilling chorus the entire audience sang a cappella, prompting Naomi to shed a few tears. You know ABC will never show a performance like that –one with social relevance but no 2009 pop culture relevance– on its three-hour special in August, but maybe that’s the kind of moment that isn’t meant to be broadcasted in living rooms across America.
The fans steal the show
Finally, for all its star power and talent, the CMA Music Festival really is fundamentally about the fans – the most passionate, tireless, supportive, ridiculously devoted people I’ve ever encountered, who blew me away with their spirit and unity. I’ve spent most of my life emotionally connecting to music and artists in ways that people around me don’t quite understand, so to be among thousands of fans who shared my exact sentiments was completely, overwhelmingly moving, and without a doubt the highlight of my week.
I met fans from all over the world, from Scotland to Canada to Australia, drawn to Nashville by good music and a chance to hang out with their favorite artists. To the CMA’s credit, the festival does an amazing job of fostering these reciprocal interactions between the fans and artists. I was skeptical about the festival actually feeling like a “thank you” to the fans, rather than a giant marketing effort, but I was quickly proven wrong by the genuine and even organic acts of the artists themselves.
The artists don’t have to participate in the charity events, much less sign autographs at them for hours, and they don’t have to hold fan club parties tailored to their fans’ interests. They don’t have to hug their fans or strike up conversations when they meet them at the convention center. Country artists don’t have to sincerely care about you in order to have successful careers (isn’t that evidenced by much of the entertainment industry?), but it seems most do.
And that’s why country music fans willingly continue to be the heart and soul of the industry. They request songs, buy albums, create street teams, spread positive messages, attend concerts, stream music videos, write to critics, rally around causes, camp out overnight on sidewalks, make T-shirts, support charities, vote for awards, write letters of encouragement…and the list goes on. They deserve respect and gratitude, and that, at its essence, is what the CMA Music Festival offers, in a way no other genre of music does.
If anything, Jamie Dailey and Darrin Vincent are double trouble. In a good way, of course. The pair recently swept the SPBGMA Bluegrass Music Awards, a near-replica of their performance at last fall’s International Bluegrass Music Association Awards, where they claimed seven trophies. On March 31, they’ll release the followup to last year’s critically-acclaimed debut disc, aptly-titled Dailey & Vincent. The duo called from Nashville’s downtown YMCA to discuss their new album and touring plans for 2009 (and beyond). Sponsorships welcomed.
Brothers from Different Mothers is your second album together. Were there any shifts in approach or attitude this time around?
DV: We wanted to make the recording quality better. We’re trying to give the best performances we can give. We capture what’s in our hearts and capture the CD in a different light, to make it something that the audience will purchase and play over and over again.
“Head Hung Down” is a fascinating starting point—a man stuck in the rain trying to catch the train home to his beloved. The perfect introduction to a bluegrass album, don’t you think?
DV: Yeah. (laughs) Why we chose the song is, we recorded the whole record, but we didn’t have an upbeat barnburner to start the album. We were kind of stuck in the studio and we talked to Robert Gaitley and he actually had a song he thought would work that he’d written. He sent us over an mp3 of the song and I wrote down the lyrics, and within about an hour we’d laid out the arrangement. It’s amazing what technology we have these days.
JD: Darrin’s just great about sequencing the record. We want to record the best possible songs for the album, but he knows how to make it all fit.
While the Grammys have honored country music from the very first ceremony in 1959, they did not begin honoring by gender until 1965, when the country categories were expanded along with the other genre categories. This year, the 45th trophy for Best Male Country Vocal Performance will be awarded.
In a continuation of our Grammy Flashback series, here is a rundown of the Best Country Vocal Performance, Male category. It was first awarded in 1965, and included singles competing with albums until the Best Country Album category was added in 1995. When an album is nominated, it is in italics, and a single track is in quotation marks.
As usual, we start with a look at this year’s nominees and work our way back. Be sure to vote in My Kind of Country’sBest Male Country Vocal Performance poll and let your preference for this year’s race be known!
Trace Adkins, “You’re Gonna Miss This”
Jamey Johnson, “In Color”
James Otto, “Just Got Started Lovin’ You”
Brad Paisley, “Letter to Me”
George Strait, “Troubadour”
As with the album race, this year’s contenders for Best Male Country Vocal Performance are a combination of unrecognized veterans and promising newcomers. In fact, none of this year’s nominees have won in this category, and only one of them – Brad Paisley – has a Grammy at all.
First, the veterans. Paisley has numerous ACM and CMA victories to his credit, including two each for Male Vocalist. Although he’s been nominated for this award twice before, this is the first time he’s contended with a cut that can’t be dismissed as a novelty number. The touching self-penned “Letter to Me” is his best shot yet at taking this home.
Trace Adkins has been at this a bit longer than Paisley, but this is his first Grammy nomination. His crossover exposure from Celebrity Apprentice might help him out here, along with the fact that the song was considered strong enough by voters to earn a nomination of its own.
But the real veteran to watch out for is George Strait. After being nominated only twice for this category in the first 25 years of his career, voters have now given him three consecutive nominations. This is one of four nods he’s earned for the 2009 ceremony, and “Troubadour” is essentially the story of his epic career distilled into a radio-length song. It would be the perfect way to honor the man and his music in one fell swoop.
However, there’s a newcomer that might be a Grammy favorite already. We just haven’t found out yet. Not James Otto, of course, who is nominated for his charming romantic romp “Just Got Started Lovin’ You”, but rather, Jamey Johnson. The recent Nashville Scene critics’ poll further confirmed the depth of his support among tastemakers, and his nominations for Best Country Song and Best Country Album indicate that he’s very much on the academy’s radar. It helps that he has the most substantial track of the five, and it’s the obvious choice for traditionalists, who have little reason to split their votes in this category. If voters aren’t considering legacy when making their selections, he has a great shot at this.
Dierks Bentley, “Long Trip Alone”
Alan Jackson, “A Woman’s Love”
Tim McGraw, “If You’re Reading This”
George Strait, “Give it Away”
Keith Urban, “Stupid Boy”
The often offbeat Grammy voters have been surprisingly mainstream in this category for the past three years, a trend best exemplified by this lineup, which was the first in more than a decade to feature only top ten radio hits. Tim McGraw and Keith Urban were the only two who had won this before, and it was Urban who emerged victorious. “Stupid Boy” was a highlight of his fourth studio album, and this was the only major award that the impressive collection would win.
Dierks Bentley, “Every Mile a Memory”
Vince Gill, “The Reason Why”
George Strait, “The Seashores of Old Mexico”
Josh Turner, “Would You Go With Me”
Keith Urban, “Once in a Lifetime”
Vince Gill returned to win in this category for a ninth time with “The Reason Why.” Not only is he, by far, the most honored artist in this category, his wins here account for nine of the nineteen Grammys currently on his mantle.
George Jones, “Funny How Time Slips Away”
Toby Keith, “As Good As I Once Was”
Delbert McClinton, “Midnight Communion”
Willie Nelson, “Good Ol’ Boys”
Brad Paisley, “Alcohol”
Keith Urban, “You’ll Think of Me”
Urban’s biggest and probably best hit launched his second album to triple platinum and established him as a crossover artist. He gave a killer performance of the song on the show. Toby Keith was a first-time nominee here, and while he publicly groused that the Grammys put too little emphasis on commercial success in picking their nominations, he lost to the only track that was a bigger hit than his own.
Let’s do this, y’all. You’ll recognize some of these write-ups from our collective list, but others weren’t posted there or were cut down for that list. This is my “Director’s Cut” version, you might say – or maybe the “UNRATED!!” version, depending on your taste in films.
In any case, here are my favorite 20 things designated as country music singles in 2008 (that I picked up on, anyhoo):
Elizabeth Cook, “Sunday Morning”
Cook mines an abstract Velvet Underground song and halfway convinces you it was always meant to be a quiet country reflection. The production and vocal are a bit too buoyant to fully convey the song’s weariness, but they do flesh out its gentle message of hope, and that’s not too bad, either.
Hank Williams III, “Six Pack of Beer”
Silly and shallow it may be, but III’s turbo-campy lament of hard times + booze was also this year’s sweetest piece of hillbilly ear candy. I think it sounds like the fastest, most frivolous thing Johnny Cash never recorded, but maybe that’s just me.
James Otto, “Just Got Started Lovin’ You”
What’s this? A contemporary country single with a traditional structure that skips on big choruses? A distinctive voice at the helm? Oh? It was the most played song of the year? Huh. So country music fans want to hear unique-sounding singers singing some semblance of actual country music on the radio? How perplexing.
In all seriousness, this smash really is a fine example of feel-good radio fluff that still manages to sound human. It’s impossible to evaluate honestly without the requisite (and very valid) comparison to Josh Turner’s “Your Man,” but honestly, I think Otto out-sexed his predecessor by a good margin. Turner gave a fine performance with his standard sweetness, but Otto opted for randy, slightly jagged cooing that ultimately sounds much more convincing coming from a man in this particular situation.
Joey + Rory, “Cheater, Cheater”
My soft spot for frivolity shows itself again. This tell-off ditty has a cute bite, and its malicious irrationality is delivered with a knowing wink that has been regrettably absent in many recent, like-minded harangues (cough cough, “Picture to Burn”). Still, it’s the frenetic bluegrass production and the couple’s palpable chemistry that ultimately sell the thing.
I’m always game for more regret on country radio, particularly when you’ve got two of the best singers in the biz on the job. The only thing holding it back for me is the melody, which is a bit too “Peabo Bryson goes country” for my taste.
Sugarland, Little Big Town & Jake Owen, “Life in a Northern Town”
There is a certain kind of song whose impact simply defies logical explanation, which seems to tap something so primal in the human spirit that you don’t even want to try explaining it for fear you might belittle it somehow. You couldn’t ask for a better example of that phenomenon than this cover of Dream Academy’s surreal ode to singer-songwriter Nick Drake, which resolves into a chorus of tribal “hey ma ma ma ma”s that somehow manage to say more (to me) than most actual words ever do.
It’s much more “Lion King soundtrack” than “country,” of course, but the union of all of these unique individual voices evokes the sort of grand communal warmth that you can normally only find in church or around a campfire. Personal favorite moment: Jake Owen’s solo, which he sings with such silky ease that it makes you pissed he hasn’t found better material for himself yet.
The list continues today with the next ten entries, a collection of hits, could’ve been hits and should’ve been hits. Adventurous radio programmers, take note.
Little Big Town, “Fine Line”
There’s a fine line between imitation and tribute, and Little Big Town lands on the proper side of the balance. Karen Fairchild steps forward on this flashback to ’70s SoCal country-rock, and her biting, expressive performance matches perfectly with an admonishment of a distant lover. Very fine, indeed. – BB
This ridiculous but fun single just sounds like a Willie Nelson song. While it’s a 2008 single, it sounds as though it could have been recorded at the height of Nelson’s career. Moreover, Willie’s voice sounds as strong as ever here. – LW
The Raconteurs with Ricky Skaggs & Ashley Monroe, “Old Enough”
A thrilling, organic collaboration that sounds cooler and more convincing with each listen. It probably hasn’t gotten enough exposure to be remembered several years down the line, but it’s one of 2008′s most compelling arguments for the uncanning of country music. – DM
Eddy Arnold, “To Life”
A glorious swan song from an incomparable talent. When it charted shortly after his death, Arnold became the only artist in history to hit the country singles chart in seven different decades. – KJC
Country crossovers have been getting a really bad rep recently. The tension is nothing new, of course – only the late John Denver could claim to have his name set aflame on a CMA telecast – but between three seasons of Gone Country, the recent glut of pop veterans snatching up major Nashville record deals, and many of the genre’s mainstream acts themselves sounding more ‘Hanson’ than ‘Haggard,’ genre-hopping has practically become the new norm. The resulting cynicism of critics and fans alike is a real shame, but given the climate, you can hardly blame a country lover for forgetting that artists from other realms sometimes manage to dabble in Ye Olde Twang with reverence and ingenuity instead of commercial cunning, that such outings occasionally produce solid gold over mere dollars.
But make no mistake here: Jack White is not Jessica Simpson, and The Raconteurs are not Bon Jovi. Best-known as one half of enigmatic alternative duo The White Stripes, White has racked up country points in recent years by producing and guesting on one of the decade’s most acclaimed albums (Loretta Lynn’s Van Lear Rose), offering sincere praise of the Nashville community he currently calls home, and even reportedly contributing to an upcoming album of lost Hank Williams songs also featuring Alan Jackson and Lucinda Williams and spearheaded by none other than Bob Dylan. A critic’s darling thanks to a string of excellent blues-grinding Stripes albums, he began work with The Raconteurs in 2005 and now finds their second offering, Consolers Of The Lonely, nominated for Best Rock Album at the forthcoming Grammy Awards. However you cut it, this is a man who knows his country, knows his rock, and isn’t going to be stupid about the way he blends them.
And so perhaps it should not surprise that The Raconteurs would choose to recolor their folky current single as a bluegrass-inflected number, or that they would pick collaborators for the project from the absolute cream of the crop. And yet, when you really think about the fact that a high-profile rock band has decided, just for fun’s sake, to share their spotlight with Ricky Skaggs – a legend whose legacy speaks for itself – and Ashley Monroe – a uniquely talented young singer-songwriter whose highly promising debut, Satisfied, got the Sony shaft back in 2006 – you can’t help but grin. On paper, this is the kind of effort that defines “critic bait”: cool artists collaborating with other cool artists on a cool song simply because it’s a cool thing to do.
That’s quite an accomplishment itself, but thankfully, the single’s appeal is pretty well substantiated by the music itself. “Old Enough” is a decent song on its own, with a straightforward, confrontational lyric that disparages the plucky confidence of youth, but the real pleasures of this record come from the new twists: Monroe’s harmonic chemistry with singer Brendan Benson, the sweet fiddle part getting more room to breathe thanks to a less crunchy arrangement, the oddly appropriate inclusion of a certain Everly Brothers line, the acoustic fury of the song’s coda. There’s a sense of vital, organic creation pulsating throughout this recording that manages to keep you interested even when the holes in the song and performances appear.
And there are holes, to be sure: some of the instrumentals toward the end sound tossed off, the arrangement is not necessarily the most cohesive, the lyric still falls on the uncaptivating side of minimalism that requires listeners to fill in a lot of blanks themselves. These problems somewhat mar the record’s attempts to convey a serious theme, limiting its appeal to “music for music’s sake”; it’s sort of the difference between campfire singing that means something and campfire singing “just because.” But for whatever the latter is worth, it’s hard to argue too much with how The Raconteurs and Co. have done it here: beautiful singing, mostly beautiful playing, uncompromising creativity. It’s enough to make a mainstream country fan pretty dang jealous.
Dolly Parton Week kicks off today with the first of two Favorite Songs by Favorite Artists entries. Mine will follow later in the week, along with Classic Country Singles, Retro Album Reviews, Six Packs, and an Ultimate Buyer’s Guide, all focusing on the legendary Hall of Famer. – Kevin
There really isn’t anything that Dolly Parton can’t do. She has a voice like an angel, but is also capable of showboating with the best of them. She plays several instruments, has written more than her share of classic songs, is an actor, owns a popular amusement park and, most importantly, is involved in many philanthropic efforts.
Starting with traditional annual viewings of A Smokey Mountain Christmas on the Disney Channel, Dolly Parton is one of those people that I loved before I even knew what music genres were, let alone country music in particular. So, while I was nervous about whittling down my favorite Dolly songs to a mere 25, I couldn’t resist the chance to participate in Dolly Parton week at Country Universe.
While this is a list of my favorite Dolly songs, I fully realize that I haven’t even begun to scratch the surface of her deep catalog with the songs that I’ve chosen.
“Joshua” Joshua, 1971
This is a strange little story, but Dolly proves that she’s a great storyteller. There’s talking, singing and even a little yodeling. What more can you ask for in a song?
“Jolene” Jolene, 1974
While it’s true that whenever I think of this song, I am reminded of The White Stripes’ intensely insane version that makes Parton’s version sound considerably tame, “Jolene” is still one of my favorite Dolly songs. She sings with her own quiet intensity that makes us appropriately feel for the jilted woman.
“Shinola” Backwoods Barbie, 2008
I just think this song is fun. She’s calling this guy out on all of his crap and I suspect that nobody can give a dressing down quite as effectively as Dolly can.
“More Where That Came From” Slow Dancing With The Moon, 1993
I was actually aware of this song before and liked it despite it being featured on recent Target commercials. She’s trying to convince her experienced man that she’s the one with whom he should settle down. After she gives him a list of things she can do to keep him happy, one can only imagine what she means by “There’s more where that came from.”
“Cry, Cry, Darlin’” Sing The Songs Of Bill Monroe, 2002
For the record, this tribute album to Bill Monroe, spearheaded by Ricky Skaggs, is no doubt worth purchasing. Dolly’s contribution is one of the clear highlights on an all around stellar record.
For a look back at the other major categories, visit our CMA Awards page.
Zac Brown Band
Usually there isn’t this much turnover in this race unless most of last year’s nominees are ineligible. This year, only one of the four eligible nominees from last year – Zac Brown Band – earns a nomination. With their massive success and their multiple nominations, they’ve got an excellent shot at winning. Then again, Easton Corbin is elsewhere on the ballot, too. It could be a horse race. 2009
Zac Brown Band
Thirteen years after winning the Best New Artist Grammy as part of Hootie & The Blowfish, Darius Rucker won the country music equivalent, adding an exclamation point to the most successful pop-to-country crossover in a generation.
The industry favorites Lady Antebellum became the fourth band in history to win this award, following Rascal Flatts, Dixie Chicks and Sawyer Brown.
Little Big Town
In the year since winning the Horizon Award, Swift has solidified her position as the genre’s most successful rising star. While her debut album hasn’t reached the sales heights of the first discs by previous winners Carire Underwood and Gretchen Wilson, Swift is still one of the genre’s only significant sellers.
Little Big Town
I had a sneaking suspicion that Josh Turner was going to take this home, but as I’ve said before, Carrie’s got the best pipes since Trisha Yearwood. That she’ was acknowledged for that at such an early stage of her career is pretty amazing. Somehow I think the thrill of winning Horizon was short-lived, as winning Female Vocalist the same night left that memory in the dust.
Big & Rich
Four of these five were nominees again the following year, and all in categories besides just Horizon, though Lambert got another shot at that as well.I think Big & Rich and Sugarland are making the most interesting music, and they’re moving more units than Bentley, though he’s no slouch himself.The CMA showed good judgment this year.