Posts Tagged ‘Roger Miller’

Grammy Flashback: Best Country Album

Saturday, January 17th, 2009

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!

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  • 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.

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  • 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.

2007

  • 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.

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Various Artists, Ultimate Grammy Collection: Classic Country and Contemporary Country

Saturday, December 13th, 2008

Various Artists

Ultimate Grammy Collection:

Classic Country

Contemporary Country

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Earlier this year, the Grammys celebrated their fiftieth anniversary with a series of compilations focusing on winners in different fields.  Two of the best entries in this series focused on country music.  With five decades of winners to choose from, it’s no surprise that Ultimate Grammy Collection: Classic Country and Ultimate Grammy Collection: Contemporary Country are solid collections.

The Classic Country set is particularly strong, including a diverse selection of significant artists from the sixties and seventies.   Even better, most of them are represented with their signature tracks.    Roger Miller opens the set with “King of the Road”, easily his biggest hit.   Other superstars include Tammy Wynette (“Stand By Your Man”), Johnny Cash (“A Boy Named Sue”) and Waylon & Willie (“Mammas Don’t Let Your Babies Grow Up to Be Cowboys.”)

As the collection moves on to the seventies and eighties, there is a healthy portion of pop-country classics from the likes of Kenny Rogers (“The Gambler”), Dolly Parton (“9 to 5″), Crystal Gayle (“Don’t it Make My Brown Eyes Blue”) and Willie Nelson (“Always on My Mind”).   In the midst of that crossover sound, however, there’s  a healthy dose of traditional country, courtesy of George Jones  with “He Stopped Loving Her Today.”

That Jones track is the only one that wouldn’t be familiar to fans that buy the set because they remember those crossover hits, even though it’s a country classic.   They might also revel in the discovery of  Ray Price (“For the Good Times”) and Jerry Reed (“When You’re Hot, You’re Hot”), which were both AM radio staples back when top 40 regularly played country records.     The set also includes mega-hits from Charlie Daniels Band, Lynn Anderson, Donna Fargo and Jeannie C. Riley.   The only real misstep is the inclusion of Johnny Cash & June Carter’s “If I Were a Carpenter”,  an unnecessary inclusion that was no doubt shoehorned in because of lingering sentiment for all things Cash.   That slot would’ve been better represented with Conway Twitty and Loretta Lynn’s “After the Fire is Gone.”

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