One of the albums that I’m anticipating most this year is Rosanne Cash’s album, The List, which comes out on October 6. Anything new from Rosanne Cash is eagerly welcomed by me, but this project is bound to be particularly special. The album will be comprised of 12 classic songs culled from a list that her father, Johnny Cash (obviously), gave to her as essential listening back when she was eighteen-years old. Since she had to choose only 12 songs out of a reported list of one-hundred, it’s pretty safe to assume that these 12 choices are among her favorites of the list that was lovingly compiled by her father, even if she did not fully appreciate them at the young age of eighteen.
While I have not adopted a large portion of my parents’ musical tastes as an adult, there are certainly singers and songs that have filtered into my music repertoire thanks to their influence. Artists such as John Denver, Peter Paul & Mary, The Seekers, Don McLean, Simon and Garfunkel, ABBA and Gordon Lightfoot aren’t necessarily people I’d naturally seek out on my own. They, however, hold a special place with me as a result of my parents’ love of their music, to the point where I can easily call myself a fan of them too.
What music has been successfully filtered to you from your parents?
By the way, here’s the track listing for the upcoming Rosanne Cash album:
1. “Miss the Mississippi and You”
2. “Motherless Children”
3. “Sea of Heartbreak” (w/ Bruce Springsteen)
4. “Take These Chains From My Heart”
5. “I’m Movin’ On”
6. “She’s Got You”
7. “Heartaches by the Number” (w/ Elvis Costello)
8. “500 Miles”
9. “Long Black Veil” (w/ Jeff Tweedy)
10. “Silver Wings” (w/ Rufus Wainwright)
11. “Girl From the North Country”
12. “Bury Me Under the Weeping Willow”
with most of this year’s strongest-selling albums being holdovers from 2008. While Rascal Flatts, Jason Aldean, and Keith Urban have sold strongly, the chart remains dominated by last year’s releases from Taylor Swift, Sugarland, Zac Brown Band, Lady Antebellum, Darius Rucker, and Jamey Johnson.
So what’s left for 2009? Here’s what we know so far:
Carrie Underwood will release her third studio album on November 3, with a lead single going to radio this fall. Her previous set, Carnival Ride, is nearing sales of 3 million, and produced four #1 singles and a #2 single, all five of which were certified gold in their own right.
George Strait will release Twang on August 11. It’s the follow-up to his 33rd platinum album Troubadour, a set which produced his 43rd #1 single and earned him the first Grammy of his career, along with a pair of CMA trophies (Single and Album)
Miranda Lambert is readying Revolution for September 29. Lead single “Dead Flowers” is struggling at radio, but that’s never slowed her down at retail anyway.
Reba McEntire’s Valory debut Keep on Lovin’ You arrives August 18. Lead single “Strange” is approaching the top ten.
Willie Nelson releases another standards collection called American Classic on August 25.
Rosanne Cash will release The List, a covers album, on October 6.
Sarah Darling releases Every Monday Morning on July 28.
Mac McAnally’s Show Dog debut – Down By the River – comes out on August 4. McAnally recently scored a big hit teaming up with Kenny Chesney on “Down the Road”, and was the co-writer on several classic Sawyer Brown singles like “All These Years” and “Thank God For You.”
Mindy Smith releases Stupid Love on August 11.
Radney Foster and The Confessions release Revival on September 1, with guest appearances by Dierks Bentley and Darius Rucker.
Chris Young releases The Man I Want to Be on September 1.
Reissues and Compilations
Brooks & Dunn release the 30-track #1 Hits…and Then Some on September 8. Track listing here. The set is preceded by lead single “Indian Summer.” The duo’s previous set, Cowboy Town, was their first to fall short of gold certification. The new hits compilation is similar in set up to top-selling collections by George Strait, Toby Keith and Reba McEntire in recent years.
Wounded Bird just released 2-albums-on-1-CD collections for Kris Kristofferson on July 7. Eight albums are included from his 1972-1981 output
A pair of Tommy Cash’s albums from 1970 will combine on one CD on July 21; Tommy is the younger brother of Johnny Cash
Hank Snow’s 1958 album When Tragedy Struck is being remastered and reissued on August 11.
I’ll be picking up many of the above releases, but I have to say that I’m most looking forward to picking up all of the remastered Beatles albums and the Madonna anthology this fall.
What releases are you most looking forward to in the second half of 2009?
The Country Music Association, mere weeks after inducting its 2009 class, has announced a change in the Hall of Fame criteria. Per the CMA website:
Three inductees will continue to be announced as new members of the Country Music Hall of Fame annually, each selected from a different category. Beginning in 2010, the categories will be renamed and defined as follows:
Veterans Era – This category will be for professionals that have been in the industry longer than 25 years. It combines the former “Career Achieved National Prominence Between World War II and 1975″ (which was voted on annually) and “Career Achieved National Prominence Prior to World War II” (which was voted on every third year in rotation) categories into one.
Modern Era – This category will be for professionals that have been in the industry at least 20 years, but no more than 25 years, and takes the place of the former annual “Career Achieved National Prominence Between 1975-Present” slot.
Rotating Categories – The third slot will continue to be a rotating category, with each group in the spotlight every third year. The Recording and/or Touring Musician and Non Performer slots will remain, joined by a new Songwriter category.
The Modern Era category seems far too limiting, especially given the numerous artists and industry insiders that are fully deserving of this honor. The change does present Randy Travis, Garth Brooks and Alan Jackson the opportunity to be inducted within the next two to three years, but also leaves legends such as Connie Smith, Jean Shepard and the Oak Ridge Boys to “compete” with newer acts such as Reba McEntire and Hank Williams, Jr. for one solitary spot each year.
Eventually, all of those artists appear to be locks for the Hall of Fame, but, as My Kind of Country alluded to earlier in the week, very few artists in modern-day country music will truly be remembered. Here’s a list of ten contemporary artists who could make the Hall of Fame one day. Although their careers aren’t complete, they have the potential to be lauded for their talent in the coming years. Sound off in the comments with your opinions on who is in, who is out and who could still make a case for induction. Feel free to add any other artists you’d deem worthy. This is not my judgment of who should/should not be included, but a random listing of ten artists who could at least present interesting cases in, say, 2020. Feedback it up. (For a glance at near-future candidates, see Six Pack: Hall of Fame Inductees. Barbara Mandrell, Roy Clark and Charlie McCoy are the 2009 honorees.)
The following is a continuation of a guest contribution from Country Universe reader Cory DeStein, who wrote Part One. You can read that entry here.
There have only been a handful of exceptionally literate female singer-songwriters that have become successful country music stars. K.T. Oslin was the second in a trio of such women, following Rosanne Cash and preceding Mary Chapin Carpenter.
Cory did a wonderful job with the first Six Pack, noting six of Oslin’s most impressive compositions and performances. My Six Pack is not a counterpoint to his, but rather a continuation of it. He already named many of my favorite Oslin songs, most notably “Hold Me” and “New Way Home.” Thankfully, her catalog is more than deep enough for me to contribute six more to the conversation. I highly recommend seeking out all of her studio albums, but the twelve tracks listed by Cory and myself should tide you over for now.
“I’ll Always Come Back”
The love song of a nomadic soul. Oslin promises she’ll “never get too lost that I can’t be found,” and that she’ll always come back to the person they left behind. On the record, it sounds like she’s singing to her man, but the touching video transforms it into a lullaby for a son who lives with his father and only sees his mother occasionally.
“Didn’t Expect it To Go Down This Way”
This past weekend, I saw the musical Avenue Q. It’s all about the disillusionment that sets in when you realize that the reality of your adult life bears no resemblance to the dreams that you held in your youth. Here, Oslin is overworked and overweight. “I knew life would be hard, but I didn’t know how hard. I thought by now I’d be happy.” She’s left wondering, “How in the world did I end up lonely?”
Two of country music’s most critically-acclaimed artists are scheduled to release new discs later this year.
While the gold-certified Crazy-Ex Girlfriend continues a formidable chart run, Miranda Lambert is finishing her third album in Nashville, tentatively set for a September release. Lambert hopes to complete recording before embarking on Kenny Chesney’s Sun City Carnival tour, where she’ll serve as an opening act starting in April. Frank Liddell and Mike Wrucke return as co-producers.
Rosanne Cash is planning a fall release for her first album on Manhattan Records. Based on her father’s list of 100 essential country songs, the aptly-named The List will include a series of classics culled from his distinctive roster.
Per Cash’s website:
“…it is so liberating and so affirming of everything I’ve written and recorded to this point. You might not think that would be the case, as I am a songwriter, and have defined myself that way for my entire adult life, but this project ties all the threads together—past and future, legacy and youth, tradition, timelessness and the pull of the unknown.”
Cash’s last collection, 2006′s Black Cadillac, earned a Grammy nomination for Best Contemporary Folk Album. Her 11 No.1 singles include “Seven Year Ache,” “Runaway Train” and the Grammy-winning “I Don’t Know Why You Don’t Want Me.”
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 is a look back at the Best Female Country Vocal Performance category. It was first awarded in 1965, an included single 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.
I’ve often made the case that female artists were making the best music in the 1990s, and the Grammys did a great job nominating songs and albums that were ignored at the CMA and ACM awards, which is not surprising, given that those shows have so few categories that are actually for songs and albums.
As usual, we start with a look at this year’s nominees and work our way back.
Martina McBride, “For These Times”
LeAnn Rimes, “What I Cannot Change”
Carrie Underwood, “Last Name”
Lee Ann Womack, “Last Call”
Trisha Yearwood, “This is Me You’re Talking To”
This year’s lineup includes three former winners and two women looking for their first victory in this category. Martina McBride is in the running for the eighth time in fifteen years, and with one of her more understated performances. Lee Ann Womack returns for a fifth time, having received a nomination for the lead single of her five most recent albums. Both ladies turned in good performances here, but they’ve been overlooked for records bigger and better, so they’re not likely to snap their losing streaks this time around.
As for the previous winners, LeAnn Rimes earned her third consecutive nod, bringing her total to five in this category. She hasn’t won since 1997, when she took home the award for “Blue.” If enough voters hear “What I Cannot Change,” she might have a shot, though the only version of the song that’s been a legitimate hit has been the dance remix.
Trisha Yearwood won in 1998 for “How Do I Live,” her only victory to date. But she’s earned her tenth nomination for “This is Me You’re Talking To,” which is arguably her strongest vocal performance of the ten. Like Rimes, the challenge is getting enough voters to listen to it, but she’s never been more deserving of the victory than she is this year.
Still, the favorite remains Carrie Underwood. She’s quickly become a favorite with Grammy voters, having won this category two years running, along with Best New Artist in 2007. She’s the nominee with the highest profile, and while “Last Name” is nowhere near the same league of “Jesus, Take the Wheel” and “Before He Cheats” in terms of artistry or impact, it was a big hit, something that the other four entries cannot claim.
If Underwood was nominated for “Just a Dream,” she’d have a mortal lock on this one. But the strength of the other nominees will at least keep this race competitive. If Underwood prevails, Grammy queen Alison Krauss better watch her back.
Alison Krauss, “Simple Love”
Miranda Lambert, “Famous in a Small Town”
LeAnn Rimes, “Nothin’ Better to Do”
Carrie Underwood, “Before He Cheats”
Trisha Yearwood, “Heaven, Heartache and the Power of Love”
Looking at this lineup, you’d think that it was a golden age of female country artists, something akin to the mid-nineties. In reality, only one of these songs was a big radio hit, though three others managed to go top twenty. In terms of quality, however, this is the most consistent and thoroughly wonderful set of nominees this category has seen this century. You’d have to go back to exactly 1999 to find a better lineup.
In a year when any winner would have been deserving, Underwood won for “Before He Cheats,” her second straight win for a signature mega-hit from her debut album.
I was listening in the car today to a track from the Caitlin Cary and Thad Cockrell album Begonias. It’s a winding, bittersweet epic that clocks in at over seven minutes. The title? “Conversations About a Friend (Who’s in Love with Katie).” It captures the content and mood of the song, rather than just taking a line from the chorus and making it the title.
Though I can name countless pop and rock songs like that, I couldn’t think of too many country examples of this. There’s Emmylou Harris’ “Prayer in Open D”, which is as evocative a title as it is a song. Rosanne Cash’s “Blue Moon with Heartache” was actually a #1 hit despite its mysterious title, which captures the muddled, melancholy moodiness of the track.
Then there’s my ring tone for a good two years, Dixie Chicks’ “Lubbock or Leave It.” Since it’s the only upbeat selection and you can never have enough Dixie Chicks, I’ve embedded the “Lubbock” clip below. The title really captures the spirit of the feisty performance, which is my personal favorite from their most recent album.
What do you think are some of the most creative song titles in country music?
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.
Change is in the air. Last night, Dan sparked an interesting conversation about the changes that readers would like to see in country music, inspired by the world events of this past week. Country Universe, of course, is undergoing its own series of changes. The best is (hopefully) yet to come. Some of the greatest country songs are about transition, whether they be tales of triumph or tragedy. Deaths, romantic dramas and job dissolutions (thank you, Mr. Paycheck) all fall into the category. For no particular reason, my choice at this moment is “I’ll Change for You,” from the Rosanne Cash album Rules of Travel. Recommend a track tonight, one that’s occupied with the grand notion of change.
As we gear up for the 42nd Annual CMA Awards and the possible surprises and disappointments that it might bring, I’m looking back to night and wondering:
What’s the greatest injustice in CMA history?
My first instinct was to note Conway Twitty, who lost all five of his bids for Male Vocalist and both of his bids for Entertainer. But at least he has four CMA awards to his credit, all of them shared with Loretta Lynn in the Vocal Duo category.
Then I thought about Sawyer Brown. Despite a hit run that lasted a good decade, they were never honored with Vocal Group of the Year, despite seven nominations. But at least they won a trophy back in 1985, when they were given the Horizon Award shortly after their Star Search victory.
So I’m going with Rosanne Cash. Despite strong record sales, critical acclaim and eleven #1 singles in the eighties, she went 0 for 11 at the CMA awards, including six failed bids for Female Vocalist of the Year. That’s not even getting into what the CMA failed to nominate, like her classic single “Seven Year Ache” and her landmark album King’s Record Shop. Even her 2002 collaboration with Johnny Cash, “September When it Comes”, failed to secure a Vocal Event nomination.
What do you think is the greatest injustice in CMA history? Take a look around the CMA database and our annotated history of the major categories and share your thoughts!