One, it describes things as they are now, instead of trying to inspire us with idyllic images of how the world could be if we just, you know, did something. The details used to describe a woman who “is so much more than you like to talk about” captures the dilemma that faces so many women today with little descriptions that add up to a larger picture of all of the compromises that must be made to a woman’s ambition and talent for her to not offend those who might be offended by them.
Our look back at the year’s best singles comes to a close, with unprecedented CU consensus at the top of the list. The top two singles of the year were ranked in that order by three of our four writers, and both appeared in the top ten of the fourth writer.
Here’s our ten best of 2010:
The Best Singles of 2010, Part 4: #10-#1
Draw Me a Map
Bentley is getting a lot of deserved attention for sonically diverging from the mainstream to create a bluegrass inspired album. It’s an excellent album, but to his credit “Draw Me A Map” isn’t so far removed from some of the unreleased songs on his first two mainstream projects; It’s just that he gets to shine a finer focus on it for this album, therefore, this seemingly subversive song for radio gets to be released. The inspired blend of Bentley’s ragged voice with Alison Krauss’ angelic voice takes the song to an even sweeter level. – Leeann Ward
Robert Louis Stevenson once remarked that “Hope lives on ignorance; open-eyed Faith is built upon a knowledge of our life, of the tyranny of circumstance and the frailty of human resolution.” He was talking, in context, about marriage. The truth is that no one enters a relationship completely free of burden, and only by submitting to the complications of that truth can we avoid being ruled by them. Wright, for her part, manages the task with simple, earnest grace, probably strengthening her relationship through mere acknowledgment of its inherent weakness. – Dan Milliken
Greatness comes in twos this year, as ten different artists make dual appearances on this list. Perhaps this demonstrates a greater truth about 2010. Sure, there was some good music, but greatness was concentrated among a smaller group of artists than usual.
As is the annual tradition, we’ll reveal this year’s forty best singles, ten at a time. Check back tomorrow for Part 2.
The Best Singles of 2010, Part 1: #40-#31
The Flatts boys return to their roots with this bright, infectious slice of country-pop. Bonus points for keeping both Gary LeVox’s voice and Dann Huff’s production in check. – Tara Seetharam
That’s Important to Me
Joey + Rory
So far, Joey+Rory’s calling card has been their ability to exude authenticity through their songs with a naturalness and warmth as convincingly as a certain mother-daughter duo of the eighties, The Judds. Only, unlike the Judds, this partnership’s perceived connection isn’t marred by real accounts of strife and familial discord. Instead, by all accounts, Joey and Rory’s love is as sweet as their musical harmonies suggest. And this song is a nice encapsulation of what makes them who they are as a duo, both in a personal and professional sense. – Leeann Ward
I don’t think there’s ever been a song that I’ve wished remained an instrumental as much as this one, as the gorgeous instrumentation, especially the fiddle, is the very best example of what the title claims.
But alas, our reigning Entertainer of the Year insists on tackling the title with lyrics, and it doesn’t end well. It doesn’t even begin well, with the ridiculous notion that country music is where you need to go to hear that Jesus is the answer, as it’s not afraid of rubbing folks the wrong way by saying so in a song. Michael W. Smith and countless Winans have made a career out of doing so without ever recording a country song.
When the nominees were announced in August for the 44th annual CMA Awards, they sparked a firestorm of headlines —and thoughtful commentary by critics and fans alike— thanks to the CMA voters’ surprisingly bold moves. It’s all about change this year, as the voters revamped the ballot with a slew of fresh faces in almost all of the big categories.
How will it all play out? We’ll know for sure on Wednesday at 8pm Eastern, but before Gwenyth Paltrow throws on her cowboy boots, check out our staff picks and predictions and join the discussion in the comments below. And be sure to drop by Wednesday night for all of the CU live blog madness!
The new Sugarland album is a failure. Of this, I am sure. But as I wrote in my review, the problem isn’t that they made an eighties rock album. It’s that they didn’t make a good one.
Which got me thinking about others who made pop or rock albums after building a fan base as a country artist. Sometimes it works, and their pop/rock music is as good or better than what they did under the country umbrella.
So I ask this question:
What artist did the best job of transition from country to pop?
There’s no point in dancing around it.
The Incredible Machine is a terrible album, an unmitigated disaster that manages to fail in ways that shouldn’t even be possible, especially on a mainstream album created by established professionals and released by a major label.
At its best, Sugarland has made successful music by combining clever musical arrangements with strong lyrical hooks, delivered by the inimitable vocal talent that is Jennifer Nettles. I would have deemed a full album being completely devoid of all three components inconceivable, but The Incredible Machine comes frighteningly close.
New releases are on the way from no less than eight past CMA Entertainer of the Year nominees and winners, along with current top sellers Zac Brown Band, Billy Currington, Jamey Johnson, and Montgomery Gentry.
So head on over to see that list, then come back to answer this question:
What Fall 2010 CD Release are you most excited for?
They don’t sing the praises of Bubble Yum and S’Mores in Food & Wine magazine, but boy, do those treats taste good.
So you’ll have to look for the country connoisseur perspective elsewhere. All I have to say about “Stuck Like Glue” is this: