The single biggest obstacle between a critic and a critical review of Old Yellow Moon is the reverence demanded by a collaboration of such artistic and historical significance. So why don’t we get that part out of the way first?
Nearly forty years ago, Emmylou Harris emerged from the shadows of the late Gram Parsons to forge her own solo career. By her side was a hungry young songwriter, Rodney Crowell. Supplying her with startlingly good material, Harris assembled a series of seminal albums that balanced his bold and original songs with both country and rock classics and other songs by marginalized writers.
In the years that have since elapsed, both have become legends, with Harris maintaining commercial success in mainstream country music and Crowell scoring hits as a singer as well as a songwriter. When radio was done with both of them, they had glorious second acts in the bourgeoning Americana scene, each of them producing albums that ranked among their best personal work.
Now the two legends have come together for their first collaborative album as peers, a project that now seems inevitable but until now seemed impossible, given how far the two have wandered from their shared starting point four decades ago. It sounds like the decision they made was to go completely back to their roots, so there are no Crowell polemics or self-penned Harris tunes.
Old Yellow Moon is a simple collection of country songs, most of which have been recorded before, sometimes by Crowell or Harris themselves. It’s worth noting that it’s a country album, too. It will be labeled Americana, but only because of AARP eligibility of the performers and the self-imposed limitations of terrestrial radio. Throughout the entire project, Crowell and Harris play it straight, a choice that produces some wonderful rewards but also holds the proceedings back at some crucial moments.
Let’s talk about the good stuff first. The album opens and closes with Hank DeVito tunes, and the opening “Hanging Up My Heart” finds Harris in fine voice, backed with a country beat that harkens back to her run of hits in the early seventies. The duo turns in a solid
cover of Roger Miller’s “Invitation to the Blues”, one of several songs that even relatively recent connoisseurs of traditional country will know well.
The challenge of familiarity hangs over the proceedings, and the artists find creative ways to counter expectations in some instances. “Dreaming’ My Dreams” has been covered to death, but their decision to alternate lead vocals between the verses and chorus adds a layer of shared regret that won’t be found in any of the excellent solo recordings of it in recent years. “Bluebird Wine” opened Emmylou’s first Reprise album, but having Crowell take the lead instead, with his haggard voice weathered by time, gives a new sense of redemption to the story of a drifter taken “in off of the highway.”
“Open Season of My Heart” was a wry highlight of Tim McGraw’s Live Like You Were Dying set, but Crowell’s delivery changes it completely. Where it was once dripping with irony and self-deprecation, it is now heartbreakingly despondent. A smart lyrical change that leaves off the original final line makes the transformation work.
The album includes a cover of Matraca Berg’s “Back When We Were Beautiful”, and it’s powerful to hear the lyrics sung by an aging voice. If Harris had gone the extra step and delivered the lyrics in the first person, it would have reached transcendence. That’s a disappointing missed opportunity, as good as the finished product still is.
Actually, that description is apt for a good deal of the project, which never dips below the level of pure, polished goodness but plays it a bit too safe to elevate it into the ranks of either artist’s best work. “Black Caffeine” is a cool song, but it begs for a more emphatic production, something along the lines of “Fate’s Right Hand” or “Deeper Well.”
“Spanish Dancer” is beautiful, but Harris doesn’t compensate her increasingly bewildering poor enunciation with enough vocal flourishes to paper over how hard it is to follow the storyline because you can’t quite understand what she’s singing.
“Bull Rider” does a decent job at mimicking the rhythm of Johnny Cash’s original recording, but you can actually hear that Crowell wrote it for Cash. He did so well at writing it for the Man in Black that his own take on it sounds like a demo recording in comparison, despite some cool harmonies from Harris along the way.
But complaining about the flaws feels a bit like complaining about some smudges on the window after returning home for the first time in years. The homecoming itself is its own reward, and while Old Yellow Moon isn’t among the greatest efforts from either Harris or Crowell, it’s a wonderful listen in its own right, and a welcome return for both artists to the simple pleasures of well-written and lovingly performed good old country music.
Pam Tillis & Lorrie Morgan
Grits & Glamour Tour
Southern Kentucky Performing Arts Center
Bowling Green, Kentucky
October 13, 2012
This past Saturday night, I had the immense pleasure of seeing two favorite artists of mine – contemporary country legends Pam Tillis and Lorrie Morgan – perform live in concert at the newly completed Southern Kentucky Performing Arts Center (SKyPAC) in Bowling Green, Kentucky. The SKyPAC is a beautifully decorated 1800-seat venue with excellent acoustics, thus providing an ideal atmosphere for Tillis and Morgan’s fantastic Grits & Glamour show.
The Grits & Glamour tour is all about the fans, and all about great music. No unnecessary gimmicks, bells, or whistles – just Tillis and Morgan singing their hearts out, joined by a small four-piece band. Both ladies were in fine voice, boasting some absolutely gorgeous harmonies, as they performed together backed by fiddle, bass, guitar, and keyboard. Such simplicity created a warm, laid-back, almost familial environment as Tillis and Morgan treated the eager crowd to a selection of best-loved tunes, all the while cutting up like one would expect from a couple of longtime girlfriends, and sharing often-humorous personal anecdotes – such as Tillis’ account of being mistaken for Patty Loveless at a Waffle House, by a fan from Knockemstiff, Ohio. (Google it – It’s a real place)
a selection of well-known hits from both artists, finished off with covers of classic songs that are close to their hearts, as well as some more recent cuts. The two opened the show with a lovely duet version of Joni Mitchell’s “Both Sides Now.” From that point onward, they alternated between performing Morgan’s hits and Tillis’ hits, beginning with Morgan’s “Watch Me” (performed in a fierce fiddle-laden arrangement quite different from the relative slickness of the 1992 hit version) and Tillis’ “Shake the Sugar Tree.” Obviously, both ladies have had more than enough hits to fill up an entire set list (Tillis has had 13 Top 10 country hits; Morgan has had 14), but Tillis and Morgan did a fine job covering the main highlights of their careers, such that virtually any audience member could enjoy the thrill of hearing something familiar. Though the hits dominated the set list, Tillis and Morgan also performed standout cuts from each of their most recent albums. Tillis performed “Train Without a Whistle” from her 2007 career-best effort Rhinestoned, while Morgan gave a heartrending performance of “How Does It Feel” from 2010’s I Walk Alone.
A major facet of what makes Grits & Glamour such a broadly enjoyable show is the way its two headliners simply exude genuine love for great country music new and old. They commented on the increased scarcity of ”real” country music in modern times, but Tillis nonetheless assured the audience that “We got it all – fiddles, steel guitar, mandolins – and we ain’t ever lettin’ go of it!” Both ladies shared a common experience of growing up with the musical heritage of a famous parent – an experience they recollected with fond enthusiasm - being the daughters of singer-songwriter legend Mel Tillis, and of late Opry star George Morgan, respectively. One of the night’s most memorable moments was a heartfelt tribute to Tillis and Morgan’s famous fathers, as they eased into a medley of George Morgan’s 1949 signature “Candy Kisses” and Mel Tillis’ classic composition “Burning Memories,” a hit first for Ray Price in 1964, and then for Mel Tillis himself in 1977. In addition, the ladies also lovingly covered classics such as Skeeter Davis’ “The End of the World” and Roger Miller’s “King of the Road.”
As the show neared its end, Tillis and Morgan were met with the loudest applause of the night as they treated the audience to performances of their respective signature classics – Tillis’ “Maybe It Was Memphis,” and Morgan’s “Something In Red.” They then rose to their feet for an inspired performance of gospel song “Jesus On the Line.” After an encore, they returned to the stage to perform brief snippets of Morgan’s 1993 number one “What Part of No” and Tillis’ 1990 debut hit “Don’t Tell Me What to Do.” Then came one of the biggest highlights of the evening as the two closed out the show by tearing into the rousing up-tempo number “I Know What You Did Last Night” – a new song which is to appear on Pam Tillis and Lorrie Morgan’s forthcoming Grits & Glamour duets record. After the show ended, Tillis and Morgan headed out to the atrium to sign autographs for a crowd of enthusiastic concertgoers.
Needless to say, the Grits & Glamour concert experience was more than enough to whet one’s appetite for the ladies’ soon-to-be-completed duet effort. The unique chemistry shared between the two outstanding talents was on full display throughout the evening. If you have the opportunity to catch any of Pam Tillis and Lorrie Morgan’s future shows on the Grits & Glamour tour, you will be in for a real country music treat.
“Both Sides Now”
“Shake the Sugar Tree”
“Except for Monday”
“Cleopatra, Queen of Denial”
“A Picture of Me (Without You)”
“Train Without a Whistle”
Medley: “Candy Kisses”/ “Burning Memories”
“The End of the World”
“Mi Vida Loca (My Crazy Life)”
“How Does It Feel”
“King of the Road”
“I Guess You Had to Be There”
“Maybe It Was Memphis”
“Something In Red”
“Jesus On the Line”
“What Part of No”
“Don’t Tell Me What to Do”
“I Know What You Did Last Night”
Jackson to find a #1 single on a Roger Miller box set.
Miller co-wrote “Tall, Tall Trees” with George Jones. Jones recorded it first. Miller recorded it a few years later.
With Miller being the king of comedic country and Jones of honky-tonk drawl, Jackson managed an awesome feat with his version. He sounds more comfortable with the rapid wordplay and hillbilly humor than either of the two guys who wrote it.
Jackson’s cover isn’t just the most commercially successful of the three. It’s also the best.
He became widely hailed for his lightning-fast wit and charming novelty songs, but Roger Miller’s talents ran far deeper than just the moments of comedic brilliance that made him a legend.
Miller took a long and winding route to country stardom. His brother-in-law, Sheb Wooley, encouraged his fiddle playing as a boy, and he sang and played guitar, but he was more interested in working as a ranch hand. But after a stint in the army led to a chance meeting with industry insiders, he made the jump and moved to Nashville.
An audition for Chet Atkins at RCA went poorly, but Miller persevered, focusing on his songwriting. He wrote the classic Ray Price hit “Invitation to the Blues”, along with hits for Jim Reeves, Ernest Tubb, and Faron Young. He also co-wrote with George Jones, and although it wasn’t a hit at the time, their collaboration “Tall, Tall Trees” would become a #1 hit for Alan Jackson three decades later.
Miller’s success as a writer garnered him new attention from Nashville labels, and he had a handful of minor hits on RCA during a short stint on the label. While he was known as a hardcore country singer up until this point, he tried a new approach, moving to California and appearing on network variety shows as a more comedic country singer.
The new image was a big success, and when he began releasing singles and albums on the Smash Records label, he became a superstar. Over the course of just three years, he released several major hits, won eleven Grammy awards, and earned several gold albums, along with the million-selling single, “King of the Road.”
After those peak years, he continued to chart, and often brought attention to material from newer songwriters like Bobby Russell (“Little Green Apples”) and Kris Kristofferson (“Me and Bobby McGee”). His own songwriting led to additional hits for other artists, most notably Eddy Arnold, who had a #2 hit with “The Last Word in Lonesome is Me.”
Miller’s storytelling skills led him to pen several songs for the Disney animated film Robin Hood in 1973, which foreshadowed his next and final major signature success. In 1985, he became the toast of Broadway for his score to the show Big River, which won him two Tony awards. Though Miller continued to work after this incredible achievement, he was soon sidelined by throat cancer, which claimed his life in 1991.
Though his Hall of Fame career has now stretched several decades, Kris Kristofferson will forever be defined by his legendary songwriting in the late sixties and early seventies.
An intellectual of Swedish descent, Kristofferson’s father was in the U.S. military, and as a result, he moved around quite a bit while growing up. His twin passions were writing and rugby, and he pursued both vigorously while completing his undergraduate studies in California. He earned a Rhodes Scholarship to Oxford University, and while studying there, he gained distinction in boxing, and more importantly, he began writing songs.
He briefly pursued a performing career while in England, with hopes that success could help him toward his real goal of publishing a novel. When this was unsuccessful, he succumbed to family pressure and joined the army in 1960. Five years later, he left the army, which resulted in estrangement from his family, and he arrived in Nashville to pursue his songwriting craft full time.
The cuts came slowly, but after having a few chart hits by artists like Dave Dudley and Roger Miller, he became established around town. As the sixties turned into the seventies, Kristofferson’s pen became legendary, thanks to a string of hits for other artists. Sammi Smith’s recording of “Help Me Make it Through the Night” won him a Grammy for Song of the Year, while he earned the CMA trophy for “Sunday Morning Coming Down” (Johnny Cash) and the ACM trophy for “For the Good Times” (Ray Price.) Janis Joplin, who Kristofferson had dated for some time, found her greatest success after her death, as her recording of Kristofferson’s “Me and Bobby McGee” topped the pop singles chart for several weeks.
Kristofferson’s notoriety as a writer piqued enough interest in him to lead to a successful singing career of his own. He had several well-received albums for Monument, two of which sold gold. Radio was mostly indifferent to the projects, with the glaring exception of his stunning #1 hit, “Why Me”, in 1973.
While he continued to sing and write songs, Kristofferson’s career took a surprising turn toward Hollywood, and he became a legitimate film star, winning a Golden Globe for Best Actor starring opposite Barbra Streisand in A Star is Born. He also had successful musical collaborations with his wife, Rita Coolidge. Meanwhile, Nashville stars continued to record his songs, with friend Willie Nelson even recording a platinum-selling tribute album in 1979.
His last major success as a recording artist came in 1985 as part of the supergroup The Highwaymen with Johnny Cash, Waylon Jennings, and Willie Nelson. That same year, he was inducted into the Songwriters Hall of Fame, while the Country Music Hall of Fame elected him in 2004.
Over the past two decades, he has continued to release albums of self-written material, while continuing to tour and appear in various films, including a prominent role in the Blade trilogy. Essential Singles:
For the Good Times (Ray Price), 1970
Sunday Morning Coming Down (Johnny Cash), 1970
Me and Bobby McGee (Janis Joplin), 1971
Help Me Make it Through the Night (Sammi Smith), 1971
Please Don’t Tell Me How the Story Ends (Bobby Bare), 1971
Why Me, 1973
The Highwayman (with Johnny Cash, Waylon Jennings, and Willie Nelson), 1985
Me and Bobby McGee, 1971
The Silver Tongued Devil and I, 1971
Jesus Was a Capricorn, 1972
To the Bone, 1981
Broken Freedom Song: Live From San Francisco, 2003
As with the similar CMA category of Single of the Year, looking over the history of this category is the quickest way to get a snapshot of country music in a given year. There is a quite a bt of consensus among the two organizations here, and it is very rare for the winner at one show to not at least be nominated at the other. The winners list here would make a great 2-disc set of country classics, at least for those who don’t mind a little pop in their country. The ACM definitely has more of a taste for crossover than its CMA counterpart, and the organizations have only agreed on 17 singles in the past four decades and change.
As always, we start with a look at this year’s nominees and work our way back to 1968.
Zac Brown Band, “Toes”
Billy Currington, “People Are Crazy”
Lady Antebellum, “Need You Now”
Miranda Lambert, “White Liar”
David Nail, “Red Light”
There’s usually a “Huh?” nominee among the ACM list in recent years. This year, it’s David Nail. Good for him! Currington hasn’t won yet for this hit, even though he got himself a Grammy nomination for it. With Lady Antebellum reaching the upper ranks of the country and pop charts with “Need You Now”, my guess is that they’re the presumptive favorites. Then again, Miranda Lambert is a nominee for the third straight year, and she’s up for her biggest radio hit.
Trace Adkins, “You’re Gonna Miss This”
Jamey Johnson, “In Color”
Miranda Lambert, “Gunpowder & Lead”
Heidi Newfield, “Johnny and June”
Brad Paisley, “Waitin’ On a Woman”
Adkins has been a fairly regular fixture on country radio since 1996, but this was his first major industry award. He also won the ACM for Top New Male Vocalist in 1997.
Gary Allan, “Watching Airplanes”
Big & Rich, “Lost in This Moment”
Kenny Chesney, “Don’t Blink”
Miranda Lambert, “Famous in a Small Town”
“Stay” swept the Song of the Year categories at all three industry shows, along with winning the ACM for Single Record. Allan’s presence here shows that being a little West Coast can still help a guy at the ACMs.
Heartland, “I Loved Her First”
Rascal Flatts, “What Hurts the Most”
George Strait, “Give it Away”
Josh Turner, “Would You Go With Me”
Carrie Underwood, “Before He Cheats”
George Strait earned his second ACM Single Record award a decade after his first (“Check Yes or No”) and two and a half decades after having his first radio hit. Underwood won at the CMAs later that year. “Give it Away” is one of a small group of ACM winners to not receive a nomination at the CMA ceremony.
Gary Allan, “Best I Ever Had”
Brooks & Dunn, “Believe”
Brad Paisley, “Alcohol”
Sugarland, “Baby Girl”
Carrie Underwood, “Jesus, Take the Wheel”
In the battle of biblical hits, the CMA picked Brooks & Dunn but the ACM picked Carrie Underwood. Much like George Strait would later win a CMA trophy for a different single (“I Saw God Today”), Underwood later triumphed at the CMA with “Before He Cheats.”
Tim McGraw, “Live Like You Were Dying”
Brad Paisley with Alison Krauss, “Whiskey Lullaby”
Rascal Flatts, “Bless the Broken Road”
Keith Urban, “Days Go By”
Gretchen Wilson, “Redneck Woman”
Lee Ann Womack, “I May Hate Myself in the Morning”
Because McGraw picked up the trophy at the CMAs in 2004, the field was cleared for Womack to win the CMA later in 2005. McGraw had won the ACM before for “It’s Your Love.”
Brooks & Dunn, “Red Dirt Road”
Alan Jackson with Jimmy Buffett, “It’s Five O’ Clock Somewhere”
Alan Jackson, “Remember When”
Toby Keith, “American Soldier”
Randy Travis, “Three Wooden Crosses”
Among all the lead nominees, only Toby Keith wasn’t a previous winner. Still, the award went to the new alcoholic’s creed, winning over a more pensive Jackson track and a big comeback hit for Randy Travis.
Kenny Chesney, “The Good Stuff”
Toby Keith, “Courtesy of the Red, White, and Blue (The Angry American)”
Trick Pony, “Just What I Do”
Keith Urban, “Somebody Like You”
Mark Wills, “19 Somethin’”
Chesney spent nearly two months at #1 with this hit, perhaps giving him the edge over the other mega-hits at radio from Keith, Urban, and Wills. As for the Trick Pony nomination, somebody really should find out what Heidi Newfield has on those ACM voters.
Brooks & Dunn, “Ain’t Nothin’ ‘Bout You”
Diamond Rio, “One More Day”
Alan Jackson, “Where Were You (When the World Stopped Turning)”
Toby Keith, “I Wanna Talk About Me”
Travis Tritt, “It’s a Great Day to Be Alive”
Jackson’s powerful 9/11 reflection stands out as the only ballad among his four ACM Single Record victories.
Toby Keith, “How Do You Like Me Now?!”
John Michael Montgomery, “The Little Girl”
Jamie O’Neal, “There is No Arizona”
Aaron Tippin, “Kiss This”
Lee Ann Womack with Sons of the Desert, “I Hope You Dance”
Toby Keith’s run of four consecutive nominations began this year. His album of the same name proved victorious that evening. Womack’s massive hit became an instant standard, and is incidentally the most recent winner to also be a genuine crossover hit.
Dixie Chicks, “Ready to Run”
Tim McGraw, “Please Remember Me”
Brad Paisley, “He Didn’t Have to Be”
George Strait, “Write This Down”
As pop hits go, this one was a monster. “Amazed” even topped the Hot 100, the first country single to do so since “Islands in the Stream.”
Faith Hill, “This Kiss”
Martina McBride, “A Broken Wing”
Shania Twain, “You’re Still the One”
Steve Wariner, “Holes in the Floor of Heaven”
The Wilkinsons, “26 Cents”
Hill and hubby Tim McGraw each have two ACM trophies in this category, one solo and one shared.
Diamond Rio, “How Your Love Makes Me Feel”
Tim McGraw with Faith Hill, “It’s Your Love”
LeAnn Rimes, “How Do I Live”
George Strait, “Carrying Your Love With Me”
Trisha Yearwood, “How Do I Live (from “Con Air”)”
While Yearwood had won over Rimes at the Grammys a few weeks earlier, the ACM sidestepped the big controversy of the year and gave the trophy to the biggest hit in the bunch.
Brooks & Dunn, “My Maria”
Deana Carter, “Strawberry Wine”
Tracy Lawrence, “Time Marches On”
LeAnn Rimes, “Blue”
George Strait, “Carried Away”
It’s rare that the ACM goes with the song that was least successful at radio, but don’t let that #10 peak of “Blue” fool you. That hit was responsible for millions of record sales.
Brooks & Dunn, “You’re Gonna Miss Me When I’m Gone”
Faith Hill, “It Matters to Me”
Tim McGraw, “I Like It, I Love It”
George Strait, “Check Yes or No”
Shania Twain, “Any Man of Mine”
It was a stroke of marketing brilliance: add two singles to a box set of a genre superstar. When the first single became one of his biggest hits, the box set quickly became the top selling in country music history.
Joe Diffie, “Third Rock From the Sun”
Vince Gill, “Tryin’ to Get Over You”
Alan Jackson, “Livin’ On Love”
Tim McGraw, “Don’t Take the Girl”
John Michael Montgomery, “I Swear”
There have been a few wedding standards to win this award, though Montgomery’s hit didn’t cross over in its original form.
Clint Black with Wynonna, “A Bad Goodbye”
Garth Brooks, “Ain’t Goin’ Down (‘Til the Sun Comes Up)”
Alan Jackson, “Chattahoochee”
Reba McEntire with Linda Davis, “Does He Love You”
Dwight Yoakam, “Ain’t That Lonely Yet”
Jackson won the ACM with his massive hit, but the McEntire/Davis duet and the Yoakam track were Grammy winners.
John Anderson, “Straight Tequila Night”
Brooks & Dunn, “Boot Scootin’ Boogie”
Billy Ray Cyrus, “Achy Breaky Heart”
Collin Raye, “Love, Me”
Tanya Tucker, “Two Sparrows in a Hurricane”
Brooks & Dunn are among the most nominated artists in this category’s history, but this is their only victory.
Clint Black, “Where Are You Now”
Garth Brooks, “Shameless”
Alan Jackson, “Don’t Rock the Jukebox”
Travis Tritt, “Here’s a Quarter (Call Someone Who Cares)”
Trisha Yearwood, “She’s in Love With the Boy”
This was Jackson’s first major industry award.
Alabama, “Jukebox in My Mind”
Garth Brooks, “Friends in Low Places”
Vince Gill, “When I Call Your Name”
Alan Jackson, “Here in the Real World”
Shenandoah, “Next to You, Next to Me”
Garth-mania was beginning to peak in 1991. He swept the ACMs that year.
Clint Black, “Better Man”
Garth Brooks, “If Tomorrow Never Comes”
Patty Loveless, “Timber I’m Falling in Love”
Keith Whitley, “I’m No Stranger to the Rain”
Hank Williams & Hank Williams Jr., “There’s a Tear in My Beer”
Clint Black is one of only three artists in the last twenty years to win for their first proper single, with Carrie Underwood and LeAnn Rimes being the other two.
Kathy Mattea, “Eighteen Wheels and a Dozen Roses”
K.T. Oslin, “I’ll Always Come Back”
Ricky Van Shelton, “I’ll Leave This World Loving You”
Randy Travis, “I Told You So”
Keith Whitley, “Don’t Close Your Eyes”
Mattea’s award-winning hit had such a high profile that it was even referenced in the dialog of the hit movie Rain Man.
Restless Heart, “I’ll Still Be Loving You”
Ricky Van Shelton, “Somebody Lied”
George Strait, “All My Ex’s Live in Texas”
Randy Travis, “Forever and Ever, Amen”
Hank Williams Jr., “Born to Boogie”
Travis won for the second year in a row with what would become his signature hit.
Alabama, “Touch Me When We’re Dancing”
Janie Fricke, “Always Have, Always Will”
The Judds, “Rockin’ With the Rhythm of the Rain”
Reba McEntire, “Whoever’s in New England”
Randy Travis, “On the Other Hand”
This was technically his first single, but when released under the name Randy Traywick, it bombed. Warner Bros. then released “1982″ under Randy Travis, and it went top ten. They then re-released this song, and it became his first #1 hit.
Lee Greenwood, “Dixie Road”
Waylon Jennings, Willie Nelson, Johnny Cash, Kris Kristofferson, “Highwayman”
The Judds, “Love is Alive”
Mel McDaniel, “Baby’s Got Her Blue Jeans On”
Hank Williams Jr., “I’m For Love”
So successful was this winning single that the four legends would go on to release future collaborations as the Highwaymen.
Alabama, “When We Make Love”
Julio Iglesias & Willie Nelson, “To All the Girls I’ve Loved Before”
The Judds, “Why Not Me”
John Schneider, “I’ve Been Around Enough to Know”
Conway Twitty, “I Don’t Know a Thing About Love (The Moon Song)”
Say what you want about this winner, but it was popular enough to sell two million 45s.
John Anderson, “Swingin’”
Anne Murray, “A Little Good News”
Willie Nelson & Merle Haggard, “Pancho and Lefty”
Kenny Rogers & Dolly Parton, “Islands in the Stream”
Shelly West, “José Cuervo”
Another pop smash that moved two million 45s. Is there anybody over 30 who can’t sing along to the chorus?
David Frizzell, “I’m Gonna Hire a Wino to Decorate Our Home”
Willie Nelson, “Always on My Mind”
Kenny Rogers, “Love Will Turn You Around”
Ricky Skaggs, “Crying My Heart Out Over You”
Nelson’s had quite a few signature hits, but none bigger than this one.
Rosanne Cash, “Seven Year Ache”
David Frizzell & Shelly West, “You’re the Reason God Made Oklahoma”
Barbara Mandrell, “I Was Country When Country Wasn’t Cool”
Ronnie Milsap, “(There’s) No Gettin’ Over Me”
Oak Ridge Boys, “Elvira”
This might be the most pop-flavored lineup in category’s history. Even the Mandrell hit doth protest too much.
George Jones, “He Stopped Loving Her Today”
Johnny Lee, “Lookin’ For Love”
Dolly Parton, “9 to 5″
Eddie Rabbitt, “Drivin’ My Life Away”
Don Williams, “I Believe in You”
Jones capped his biggest comeback in a career defined by them with several awards for this classic hit.
Charlie Daniels Band, “Devil Went Down to Georgia”
Larry Gatlin & The Gatlin Brothers Band, “All the Gold in California”
Crystal Gayle, “Half the Way”
Waylon Jennings, “Amanda”
Kenny Rogers, “Coward of the County”
West Coast represent!
Crystal Gayle, “Talking in Your Sleep”
Loretta Lynn, “Out of My Head and Back in My Bed”
Willie Nelson, “Georgia On My Mind”
Waylon & Willie, “Mammas Don’t Let Your Babies Grow Up to be Cowboys”
Don Williams, “Tulsa Time”
In a category of superstars, the Gentle Giant of Country Music was the victor.
Debby Boone, “You Light Up My Life”
Crystal Gayle, “Don’t it Make My Brown Eyes Blue”
Waylon Jennings, “Luckenbach, Texas (Back to the Basics of Love)”
Kenny Rogers, “Lucille”
Linda Ronstadt, “Blue Bayou”
All of these records made a big impact on both the country and the pop chart.
Mickey Gilley, “Bring it On Home to Me”
Loretta Lynn, “Somebody Somewhere (Don’t Know What He’s Missin’ Tonight)”
Marty Robbins, “El Paso City”
Red Sovine, “Teddy Bear”
Waylon & Willie, “Good Hearted Woman”
A surprising win, perhaps fueled by the momentum of Gilley’s previous single, “Don’t the Girls All Get Prettier at Closing Time.”
Glen Campbell, “Rhinestone Cowboy”
Freddie Fender, “Before the Next Teardrop Falls”
Mickey Gilley, “Overnight Sensation”
Willie Nelson, “Blue Eyes Crying in the Rain”
Kenny Starr, “The Blind Man in the Bleachers”
Campbell made quite the comeback with this one, and it later inspired the Dolly Parton film vehicle Rhinestone, which earned an ACM nomination of its own for the Tex Ritter Award.
John Denver, “Back Home Again”
Merle Haggard, “Things Aren’t Funny Anymore”
Ronnie Milsap, “(I’d Be) A Legend in My Time”
Cal Smith, “Country Bumpkin”
Billy Swan, “I Can Help”
Smith may not have gotten all the recognition that his talent warranted, but he made two undeniable classics: “The Lord Knows I’m Drinking”, and his winner here.
Merle Haggard, “If We Make it Through December”
Byron MacGregor, “The Americans”
Jeanne Pruett, “Satin Sheets”
Charlie Rich, “Behind Closed Doors”
Charlie Rich, “The Most Beautiful Girl”
Rich’s two hits were so big that even with vote-splitting, he still emerged the winner.
Donna Fargo, “The Happiest Girl in the Whole U.S.A.”
Merle Haggard, “It’s Not Love (But It’s Not Bad)”
Johnny Rodriguez, “Pass Me By (If You’re Only Passing Through)”
Jerry Wallace, “If You Leave Me Tonight I’ll Cry”
Faron Young, “Four in the Morning”
Fargo was a local star on the West Coast before she broke through nationwide with this hit, dominating the 1973 ACM Awards as a result.
Merle Haggard, “Carolyn”
Freddie Hart, “Easy Loving”
Loretta Lynn and Conway Twitty, “Lead Me On”
Loretta Lynn, “One’s On the Way”
Charley Pride, “Kiss an Angel Good Morning”
This gold-selling classic helped Hart triumph over the superstars of his day.
Lynn Anderson, “Rose Garden”
Merle Haggard, “The Fightin’ Side of Me”
Anne Murray, “Snowbird”
Ray Price, “For the Good Times”
Sammi Smith, “Help Me Make it Through the Night”
Each one of these is a classic in its own right. In a battle of Kristofferson-penned hits, Price emerged victorious, though Smith won the CMA later that year.
Glen Campbell, “Try a Little Kindness”
Johnny Cash, “A Boy Named Sue”
Merle Haggard, “Okie From Muskogee”
Billy Mize, “Make it Rain”
Elvis Presley, “Don’t Cry Daddy”
Freddy Weller, “Games People Play”
Tammy Wynette, “Stand By Your Man”
Haggard’s only victory in this category came on a night where he also won Album of the Year for the only time in several nominations.
Glen Campbell, “Wichita Lineman”
Merle Haggard, “I Take a Lot of Pride in What I Am”
Merle Haggard, “The Legend of Bonnie and Clyde”
Merle Haggard, “Mama Tried”
Roger Miller, “Little Green Apples”
Miller’s known for his legendary songwriting, but his winning hit here was penned by Bobby Russell.
Glen Campbell, “Burning Bridges”
Glen Campbell, “Gentle on My Mind”
The Gosdin Bros., “Hangin’ On”
Bobbie Gentry, “Ode to Billy Joe”
Merle Haggard, “Branded Man”
Merle Haggard, “I’m a Lonesome Fugitive”
A young Vern Gosdin made up half of the nominated Gosdin Bros., a nice historical footnote to the first year of this category. Glen Campbell’s victory was appropriately West Coast for the ACMs first attempt at honoring the national country music scene.
Facts & Feats:
(4) – Alan Jackson
(3) – Willie Nelson
(2) – Glen Campbell, Faith Hill, Tim McGraw, Kenny Rogers, George Strait, Randy Travis
Few artists command as much critical acclaim as Dwight Yoakam, yet he was also a stunningly successful commercial act from the start. Nine of his releases have been certified gold or better, and his biggest set to date – This Time – has sold more than three million copies.
His catalog is deep with classic cuts. Here are ten of the best, a solid introduction to one of the genre's greatest talents.
And while it's not represented on the list, I highly recommend his stellar Under the Covers, an excellent covers album that is best heard in its entirety.
“Guitars, Cadillacs” from the 1986 album Guitars, Cadillacs, Etc., Etc.
It's tempting to kick off with “Honky Tonk Man”, Yoakam's effective cover of Johnny Horton's classic that was also his breakthrough hit. But what's missing from that track is Yoakam's signature heartache and pain. In Yoakam's best songs, he's not seeking out the night life because he enjoys it. It's to distract him from the loneliness and rejection that his lover has inflicted upon him.
“Streets of Bakersfield” (featuring Buck Owens) from the 1988 album Buenas Noches From a Lonely Room
Yoakam was instrumental in making the younger generations aware of the importance of Buck Owens, clearly Yoakam's strongest country influence. When he chose to revive an old Owens tune, he invited the man himself to help him out. The end result was a #1 hit that was a comeback for Owens and a signature smash for both of them.
“It Only Hurts When I Cry” from the 1990 album If There Was a Way
Yoakam's albums got considerably more ambitious in the nineties, but it's the beautiful simplicity of this hit, co-penned by Roger Miller, that's made it so timeless.
“Suspicious Minds” from the 1992 album Honeymoon in Vegas
He'd already had a hit with Elvis Presley's “Little Sister”, which he covered faithfully on his second album, Hillbilly Deluxe. But it was his rocking cover of “Suspicious Minds” that, in my mind, well surpassed Presley's original version.
“Ain't That Lonely Yet” from the 1993 album This Time
Co-writer James House had planned on keeping this one for himself, but when Yoakam heard it, he insisted that he get the chance to release it. It was a good move for both men, as the song became a radio smash and the performance earned Yoakam a Grammy.
“A Thousand Miles From Nowhere” from the 1993 album This Time
There's something hypnotic about this particular hit, which was immortalized with a split-screen video that has since become a classic.
“Nothing” from the 1995 album Gone
Gone is Yoakam's most fascinating album of self-penned material, with creative percussion arrangements and unexpected horn sections popping up here and there. There was never anything on country radio quite like it, nor has there been anything since.
“Things Change” from the 1998 album A Long Way Home
One of Yoakam's catchiest hits is also one of his most venomous, as he rejects the lover that has come crawling back to him after sending him packing earlier in the song.
“Thinking About Leaving” from the 1999 album Last Chance For a Thousand Years
Yoakam added new lyrics and changed the arrangement of this Rodney Crowell song, which had originally appeared on Crowell's Jewel of the South. He turned it into the confessional of a man torn between a life on the road and making a home with the woman who finally has him wanting to settle down.
“The Back of Your Hand” from the 2003 album Population: Me
Yoakam knew he had to cut this song when he heard the line, “There's some things that I just know, like you take two sugars with a splash of cream.” I've always been most fond of the way he frames the choice facing the woman who wants to leave: “Pick a number from one to two.”
The following article is by guest contributor and Country Universe commenter, Craig R.
My Start in Country Music
By Craig Ross
My memories only started collecting at age four. That year, 1969, my uncle was shot and seriously wounded in Vietnam. I had just started eating hamburgers for the first time. During the summer I saw Neil Armstrong walk on the moon on my parent’s bedroom black and white television set. And I knew the entire lyrics to only two songs, which I sang over and over again: “Raindrops Keep Falling on My Head” by B.J Thomas and “King of the Road” by the great Roger Miller. But growing up in a Baltimore suburb in a middle class, college educated black American home placed me in a rare position. My cousins listened to Motown, R&B, and some pop. The adults listened mainly to jazz. My parents were open to all types of music, and the one I fell in love with was country music.
In 1969 they still called it country-western music. And at that point in time it seemed to be everywhere. On the radio they played Roger Miller, Johnny Cash, Glen Campbell, and Eddy Arnold on pop stations. On television country music was coming into its own. In 1969 alone we watched Hee-Haw, The Porter Waggoner Show, The Johnny Cash Show and The Glen Campbell Goodtime Hour. The first time I ever saw the great Louis Armstrong was on Cash’s show.
And of course, every sitcom seemed to be about the country living in 1969: Green Acres, Petticoat Junction, The Beverly Hillbillies and Mayberry RFD. It may have been the perfect time to fall for country music. At four I liked the finger snapping of “King of the Road”, the cowboy hats, and the pretty lady singers in their wigs and gowns on television. I wasn’t dreaming of being a bull rider, a farmer or honky- tonk singer. But music defines you in some way. And at forty-four I realize now that I was being converted to a sound that would anchor the rest of my life. Country spoke to me in way no other music of my youth did. The very nature of the raw storytelling was addictive. Truth undiluted, unfiltered, uncalculated – can be a drug like no other.
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.
A look back at the previous winners and nominees of the Best Country Album Grammy, updated to include the 2009 contenders.
The Grammys have been doing better in the country categories since they reintroduced the Best Country Album category in 1995, which had only been in existence for two years in the 1960s. Prior to 1995, albums and singles were both eligible in the vocalist categories, so full albums would compete against single tracks in Best Male Country Vocal Performance, for example.
Looking over the history of this fairly young category, you can see trends emerge, with certain acts clearly being favorites of NARAS. You see the same trend with the CMAs, just with different people. What is clear with the Grammys is that radio and retail success will only carry you so far. For awards that are supposed to be based on artistic merit, that’s how it should be.
As with the CMA flashbacks, we’ll begin with a look at this year’s nominees, then discuss previous year’s in reverse chronological order. Winners are in bold.
Be sure to drop by My Kind of Country and vote in their Best Country Album poll. Let your preference be known!
Jamey Johnson, That Lonesome Song
Patty Loveless, Sleepless Nights
George Strait, Troubadour
Randy Travis, Around the Bend
Trisha Yearwood, Heaven, Heartache and the Power of Love
Four veterans and one newcomer vie for this year’s Best Country Album, and it’s a wide-open race with no obvious favorite. The critically acclaimed breakthrough album of Jamey Johnson could earn him his first Grammy. The legendary George Strait would like to start a Grammy collection of his own. Like fellow nominee Patty Loveless, this is his third nomination for this award. While Loveless has also yet to win this one, she does have a Grammy already, for her contributions to the multi-artist collaboration “Same Old Train.”
Randy Travis is a real contender here; five of his previous albums have won Grammys. Two of them (Always & Forever, Old 8×10) won in the Best Male Country Vocal Performance category, back when albums and singles competed with each other in that race. And while this is his first nomination for Best Country Album, he was won Best Southern, Country, or Bluegrass Gospel Album three times, for Glory Train (2007), Worship & Faith (2005) and Rise and Shine (2004.)
While Vince Gill broke the all-female trend in this category last year, he was nominated in an all-male field. If the trend begins again this year, this will be a battle between Loveless and Trisha Yearwood. The latter’s Heaven, Heartache and the Power of Love is arguably the strongest album in this category, and while Yearwood won three Grammys in the nineties, she has never won Best Country Album, despite earning more nominations than any other artist in the history of the category – Heartache is her eighth set to contend for the trophy. She’s beyond overdue, but her competition is formidable.
Dierks Bentley, Long Trip Alone
Vince Gill, These Days
Tim McGraw, Let it Go
Brad Paisley, 5th Gear
George Strait, It Just Comes Natural
With the exception of Shania Twain’s Come On Over, no album that has also been nominated for the general Album of the Year race has failed to win Best Country Album. So it was no surprise when Vince Gill picked up the trophy for his four-disc opus These Days. In his acceptance speech, he good-naturedly ribbed Kanye West, providing one of the evening’s brightest moments.
Dixie Chicks, Taking the Long Way
Alan Jackson, Like Red On a Rose
Little Big Town, The Road to Here
Willie Nelson, You Don’t Know Me: The Songs of Cindy Walker
Josh Turner, Your Man
The Chicks became the first artists in Grammy history to win four genre Best Album awards, breaking their tie with Eminem, who has won three Best Rap Album trophies. This was one of five trophies they took home at the February 2007 ceremony, and the album returned to #1 on the country chart and back to the pop top ten on the strength of those victories.