Modern bluegrass legend Rhonda Vincent shows off two sides of her musical repertoire with her delightful new album Only Me, which is split across two six-track discs. The first disc is a collection of bluegrass songs, while the second showcases Vincent’s prowess in performing traditional country music.
On the bluegrass side, Vincent is joined by her longtime backing band The Rage, which includes Hunter Berry on fiddle, Brent Burke on resophonic guitar, Mickey Harris on upright bass, Aaron McDaris on banjo, and Josh Williams on acoustic guitar, while Vincent herself performs on the mandolin. The entire band proves to be in top-notch form right from the fast-picking opening up-tempo “Busy City,” which segues into the album’s fantastic lead-single, the angst-ridden Larry Cordle ballad “I’d Rather Hear I Don’t Love You (Than Nothing At All).”
Vincent is joined by two special guests on the bluegrass disc. The iconic Willie Nelson contributes duet vocals as well as guitar work to the title track – a love song which combines bluegrass instruments with Spanish guitar in a genre-blending album highlight. Vincent recasts George Jones and Melba Montgomery’s 1963 duet hit “We Must Have Been Out of Our Minds” as a bluegrass song on which Daryle Singletary supplies the male vocals – with glorious results.
Longtime fans know that the country disc is hardly the first foray into this genre for Rhonda Vincent, who even took an unsuccessful stab at become a mainstream country star in the nineties. Vincent’s work in the country field was highlighted by 2011’s Your Money and My Good Looks – a stellar duets project with country genre luminary Gene Watson. The country side of Only Me follows in the tradition of that excellent set, and is likewise dominated by cover material. This disc features a luscious take on the Dallas Frazier song “Beneath Still Waters,” a minor 1970 hit for Diana Trask which Emmylou Harris later took to the top of the charts in 1980, as well as a loving tribute to the late George Jones with a tear-jerking take on “When the Grass Grows Over Me.” As an extra treat, Vincent includes an original song that she wrote at the tender age of sixteen with “Teardrops Over You,” a country heartbreaker that sounds like it could very well have been recorded by any of the legends whose work Vincent here covers.
A particular highlight is Vincent’s take on Connie Smith’s Bill Anderson-penned 1964 breakthrough hit “Once a Day” – the first chart-topping debut single by a female country artist, and the longest running number-one single by a female country artist (until the latter record was broken in 2012 by… ahem… Taylor Swift’s “We Are Never Ever Getting Back Together”). Vincent here turns the classic song into a gentle barroom shuffle. As one of very few women who are anywhere close to Smith’s league as a vocalist, she reminds us that the bluegrass queen can still deliver a honky-tonk wail like few others.
Vincent offers a pleasant mood-breaker with her gender-flipped take on Bill Anderson’s “Bright Lights and Country Music” – a song to which any longtime Opry listener will react with warm recognition. As the set closes, Vincent relishes her narrator’s boozy, brokenhearted misery on the 1946 Ernest Tubb hit “Drivin’ Nails” – a song Vincent previously recorded in a bluegrass setting, but here turns into a Western-swing-tinged fiddle jam with all the energy of a great live performance.
The press material for Only Me explains that the album is meant to provide an answer to the question of whether Vincent’s voice is bluegrass or country by confirming “it’s in the perception of the listener,” while showing that “either way, country or bluegrass, it’s Rhonda!” However, the project not only showcases how outstandingly adept Vincent is at performing both styles, but it also demonstrates how similar in spirit the two are – both built on accessible, sincere storytelling. Though the banjos and mandolins are swapped out for pedal steel halfway through, the project doesn’t feel like two different albums shoved into one – both halves feel like they belong together, making Only Me beautiful realization of the album as an art form. Better yet, it’s a welcome reminder that, regardless of genre placement, great music is universal.
The Country Universe staff has picked and predicted the 2014 Grammy Awards below, strange bunch that they are. Chime in with your thoughts, and catch the show on Sunday at 7 p.m. CST.
Album of the Year
Should Win:
Sara Bareilles, The Blessed Unrest
Daft Punk, Random Access Memories - Kevin
Kendrick Lamar, good kid m.A.A.d. city – Jonathan
Macklemore & Ryan Lewis, The Heist
Taylor Swift, Red
Will Win:
Sara Bareilles, The Blessed Unrest
Daft Punk, Random Access Memories - Kevin, Jonathan
Kendrick Lamar, good kid m.A.A.d. city
Macklemore & Ryan Lewis, The Heist
Taylor Swift, Red
Kevin: With electronic music so mainstream now, it would be wise and timely for NARAS to acknowledge the excellent comeback of one of its pioneers, especially as the year’s best country albums (Brandy Clark, Kacey Musgraves, Ashley Monroe, etc.) and the year’s best rap album (Kanye West) didn’t score nominations in the top category.
Jonathan: Lamar and Daft Punk would both be worthy winners of an award that rarely seems to go to one. Hip-hop and R&B have notoriously struggled in the general field in recent years, so Daft Punk’s cachet with the rock contingent should give them the edge over Swift, who didn’t score the across-the-board support many were expecting from her this year. If the voters are feeling especially timid, though, watch out for “Brave” yelper Bareilles as a spoiler.
Record of the Year
Should Win:
“Blurred Lines” – Robin Thicke featuring T.I. and Pharrell Williams
“Get Lucky” – Daft Punk featuring Pharrell Williams – Kevin, Jonathan, Tara
“Locked Out of Heaven” – Bruno Mars
“Radioactive” – Imagine Dragons
“Royals” – Lorde – Dan
Will Win:
“Blurred Lines” – Robin Thicke featuring T.I. and Pharrell Williams – Tara
“Get Lucky” – Daft Punk featuring Pharrell Williams
“Locked Out of Heaven” – Bruno Mars – Kevin, Jonathan, Ben
“Radioactive” – Imagine Dragons
“Royals” – Lorde - Dan
Kevin: “Get Lucky” was retro and modern at the same time, featuring the charismatic Williams. That guy makes everything better. I’m guessing Mars will get it because he’s the most established and arguably is overdue for a big win.
Dan: “Royals” was the most refreshing to me. Winner feels like a real toss-up, though.
Jonathan: Prevailing logic as to why hip-hop tracks have fared so poorly in this category is that NARAS voters are still hell-bent on rewarding live instrumentation, so it’s hard to imagine something as spare as “Royals” winning, even if it’s the most distinctive choice. “Get Lucky” would get my vote, but look for Bruno Mars to head off to his Super Bowl Halftime gig with some new hardware in hand to reward his Police homage.
Tara: Lots of atmospheric tunes here. “Get Lucky” seems like the one that will feel no less groovy in ten years time. I wouldn’t put any money on it, but I could see the voters ignoring controversy and rewarding the biggest hit of the year.
Song of the Year
Should Win:
“Just Give Me a Reason” – Jeff Bhasker, P!nk, and Nate Reuss – Kevin, Ben
“Locked out of Heaven” – Phillip Lawrence, Ari Levine, and Bruno Mars
“Roar” – Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry, and Henry Walter
“Royals” – Joel Little and Lorde – Jonathan
“Same Love” – Ben Haggerty, Mary Lambert, Ryan Lewis, and Curtis Mayfield – Dan, Tara
Will Win:
“Just Give Me a Reason” – Jeff Bhasker, P!nk, and Nate Reuss - Kevin, Ben, Dan
“Locked out of Heaven” – Phillip Lawrence, Ari Levine, and Bruno Mars
“Roar” – Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry, and Henry Walter
“Royals” – Joel Little and Lorde
“Same Love” – Ben Haggerty, Mary Lambert, Ryan Lewis, and Curtis Mayfield - Jonathan, Tara
Kevin: P!nk is long overdue for a top tier award, and her co-write with previous winner Nate Reuss was, in my opinion, the best duet in a year chock full of ‘em.
Dan: The Macklemore & Ryan Lewis composition is somehow the most personal of the group even as it makes the biggest, broadest statement. And the climactic third verse still gives me chills.
Jonathan: I don’t care that Kacey Musgraves is a fan of hers: Perry’s nomination is indefensible, with four adults credited on a song that rhymes “zero” with “hero” and that allows pop music’s least-capable vocalist to scream a series of self-help cliches. The broad, even-in-the-flyover-states popularity of “Same Love,” though, gives the voters a safe opportunity to make a political statement and to recognize one of the year’s breakthrough acts.
Tara: It’s a toss-up between “Royals” and “Same Love” for me in terms of substance and purposeful songwriting, but I can’t ignore the chills I also get listening to the latter. I agree with Jonathan that this is a win-win way for the voters to make a statement.
Best New Artist
Should Win:
James Blake
Kendrick Lamar – Jonathan
Macklemore & Ryan Lewis – Dan
Kacey Musgraves – Kevin, Ben, Tara
Ed Sheeran
Will Win:
James Blake
Kendrick Lamar
Macklemore & Ryan Lewis - Dan, Kevin, Tara
Kacey Musgraves - Jonathan, Ben
Ed Sheeran
Kevin: Gotta root for the home team. I think Macklemore & Lewis will win, though.
Dan: For once, this category is hot across the board; you could make a great argument for any of these folks. Personally, I find Macklemore & Ryan Lewis to be the most exciting.
Ben: I don’t always gravitate toward the country-affiliated New Artist nominee, but then again it’s rare for me to be so invested in a country newcomer’s artistry as I am with Musgraves. To see her win would make my heart happy.
Jonathan: Lamar is making the most compelling music of this lot, but this category’s history dictates that it’s Musgraves’ award to lose. Macklemore & Ryan Lewis pose a real threat, but being the only woman nominated plays in Musgraves’ favor.
Tara: It’s hard to tell if Musgraves’ profile outside of the country sphere is big enough to nab her this one, but I’d be happy if it did. I hope she keeps the face in check if it doesn’t, though.
Best Country Album
Should Win:
Jason Aldean, Night Train
Tim McGraw, Two Lanes of Freedom
Kacey Musgraves, Same Trailer Different Park – Dan, Kevin, Ben, Jonathan, Sam, Tara
Blake Shelton, Based on a True Story
Taylor Swift, Red
Will Win:
Jason Aldean, Night Train
Tim McGraw, Two Lanes of Freedom
Kacey Musgraves, Same Trailer Different Park
Blake Shelton, Based on a True Story – Sam
Taylor Swift, Red - Kevin, Ben, Jonathan, Tara
Kevin: Don’t see how Taylor doesn’t win, though Musgraves made the best album by a decent margin, regardless of how country any of ‘em are.
Dan: Here’s the most logical place to reward Musgraves, though I guess Red’s nomination in the general Album of the Year field makes it the frontrunner in this category. And that’s fine; whatever. I’ve been hoping for Swift’s albums to be grouped under “Pop” at the Grammys since Fearless. It ain’t gonna happen.
Ben: Should Win – easy choice. Will Win – also an easy choice.
Sam: Just to be contrary, I think Shelton’s built up enough recognition with his “The Voice” gig that he has name recognition from voters who know next to nothing about country music. The fact that it was a terrible, terrible album doesn’t really matter.
Jonathan: No, Red shouldn’t be nominated in the Country field, so I wouldn’t vote for it on principle, even though its best tracks are far and away the strongest material in this line-up. NARAS has no qualms about rewarding pop crossover albums here, so it would be a huge upset were Swift to lose. When we were all prepping our ballots for our year-end countdowns, I had Musgraves’ album at #38. It’s good and I certainly understand why it has as many fans as it does, but I’m just not as bullish on it as others seem to be. Still, it would be my personal choice from this paltry line-up, since Aldean’s, McGraw’s, and Shelton’s albums ranged from pedestrian to downright unlistenable.
Tara: Seems like an easy Swift win, but I get where Sam’s head is at re: Shelton. There’s no question Musgraves made the best music, though, and what a shame she’s not surrounded by her peers who made even better music.
Best Country Solo Performance
Should Win:
Lee Brice, “I Drive Your Truck”
Hunter Hayes, “I Want Crazy”
Miranda Lambert, “Mama’s Broken Heart” – Dan, Kevin, Ben, Jonathan, Sam, Tara
Darius Rucker, “Wagon Wheel”
Blake Shelton, “Mine Would Be You”
Will Win:
Lee Brice, “I Drive Your Truck”
Hunter Hayes, “I Want Crazy”
Miranda Lambert, “Mama’s Broken Heart” - Dan, Kevin, Ben, Jonathan, Sam, Tara
Darius Rucker, “Wagon Wheel”
Blake Shelton, “Mine Would Be You”
Kevin: Lambert is the only female and the only previous winner. I’d be shocked if she lost.
Ben: To me, Lambert’s performance alone claims the distinction of making an already-great song even better.
Sam: This could be one of those rare occasions where the best nominee actually wins a Grammy. I think Hunter Hayes is a long shot, as most Grammy voters are not teenaged girls.
Jonathan: What Kevin said. Also, he’s a talented instrumentalist, but the Grammy voters’ fascination with Hunter Hayes is baffling.
Tara: Lambert’s is the most distinct and impactful performance here, but I’ll throw in my defense of Hayes’ “I Want Crazy,” a song and vocal that’s as breathlessly exuberant as Keith Urban’s best work.
Best Country Duo/Group Performance
Should Win:
The Civil Wars, “From This Valley”
Kelly Clarkson featuring Vince Gill, “Don’t Rush”
Little Big Town, “Your Side of the Bed” – Jonathan
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Kenny Rogers and Dolly Parton, “You Can’t Make Old Friends” – Kevin, Ben, Tara
Will Win:
The Civil Wars, “From This Valley”
Kelly Clarkson featuring Vince Gill, “Don’t Rush”
Little Big Town, “Your Side of the Bed”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care” - Kevin, Ben, Tara
Kenny Rogers and Dolly Parton, “You Can’t Make Old Friends” - Jonathan, Sam
Kevin: The high octane collaboration of McGraw/Swift/Urban has been unstoppable thus far. Kudos to NARAS for noticing Rogers & Parton’s beautiful work, their best together since “Islands in the Stream.”
Ben: “You Can’t Make Old Friends” is enough to give many a longtime country music lover warm fuzzies, but the commercial clout of “Highway Don’t Care” may be too much to beat.
Sam: If you’re a Grammy voter and have to decide on a zillion categories, do you take the time to sit and listen to each nominee, or do you skim over the names and pick the ones you’re most familiar with? Kenny and Dolly for the win.
Jonathan: One of the strongest sets of nominees anywhere on the Grammy ballot this year. Little Big Town would get my vote so that they have a win for something besides “Pontoon” to their credit, but I think NARAS’ older voters will be swayed by the effortless charm of the Rogers and Parton duet.
Tara: I don’t love any of these except for the Rogers and Parton collaboration, as much as I wanted to embrace “Don’t Rush” (Kelly Clarkson! Vince Gill!). I think the middle-of-the-road McGraw / Swift / Urban song will win out, but here’s to hoping the voters act on warm fuzzies.
Best Country Song
Should Win:
“Begin Again” – Taylor Swift
“I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
“Merry Go ‘Round” – Shane McAnally, Kacey Musgraves, and Josh Osborne - Ben
“Mine Would Be You” – Jessi Alexander, Connie Harrington and Deric Ruttan
Kevin: Gotta root for the Brandy Clark co-write, which is conveniently the best composition anyway. Still, I think voters will use this category to acknowledge Musgraves for writing her own hit instead of Miranda’s.
Ben: I seem to be in the minority here, but I actually consider “Merry Go ‘Round” to be the finer of the two Musgraves co-writes – which is not to say that I don’t adore “Mama’s Broken Heart” or that I wouldn’t be thrilled to see Brandy Clark also gain a mantle decoration. This would seem a comfortable place for voters to acknowledge Musgraves – as well as a likely consolation prize should she lose Best New Artist – and like Kevin, I expect it will be for the hit she performed as well as wrote.
Sam: I’d just like to point out that this is an incredibly strong group of nominees and shows there is some substance to country music once you weed out all the tailgate songs.
Jonathan: Things could play out here in a similar fashion to the CMAs, with vote-splitting among the multiple nominations for Musgraves, McAnally, Alexander, and Harrington. That worked to the latter pair’s advantage at the CMAs, where “I Drive Your Truck” pulled off a surprise win, but Shelton’s powerballad could siphon votes from Brice’s hit this time. As much as I love the idea of Brandy Clark as a Grammy winner, I think the various vote-splits will allow one of Swift’s best-written songs to win.
Tara: As strong as Lambert’s spitfire performance is, I’d argue that the bones of “Mama’s Broken Heart” are even stronger. I’ve never been able to connect with “Merry Go Round” the way others have, but agree this is likely where the voters will single Musgraves out.
Best American Roots Song
Should Win:
“Build Me Up From Bones” – Sarah Jarosz – Jonathan
“Invisible” – Steve Earle
“Keep Your Dirty Lights On” – Tim O’Brien and Darrell Scott – Kevin
“Love Has Come From You” – Edie Brickell and Steve Martin
“Shrimp Po-Boy, Dressed” – Allen Touissant
Will Win:
“Build Me Up From Bones” – Sarah Jarosz
“Invisible” – Steve Earle
“Keep Your Dirty Lights On” – Tim O’Brien and Darrell Scott
“Love Has Come From You” – Edie Brickell and Steve Martin- Kevin, Jonathan
“Shrimp Po-Boy, Dressed” – Allen Touissant
Kevin: Can voters resist Steve Martin? If they do, I hope it’s to acknowledge again the unique talents of Tim O’Brien and Darrell Scott. They are so good together.
Jonathan: Jarosz draws favorable comparisons to Alison Krauss, and, if ever there were a surefire way to appeal to Grammy voters, that would be it. She’d get my vote for the exceptional title track from her third album, though, like Kevin, I’m a big fan of O’Brien’s and Scott’s work together. Martin’s charm and name recognition are likely to give his duet with erstwhile New Bohemian Brickell the edge here.
Best Americana Album
Should Win:
Emmylou Harris and Rodney Crowell, Old Yellow Moon – Kevin, Jonathan, Sam
Steve Martin and Edie Brickell, Love Has Come For You
Buddy Miller and Jim Lauderdale, Buddy and Jim
Mavis Staples, One True Vine
Allen Touissant, Songbook
Will Win:
Emmylou Harris and Rodney Crowell, Old Yellow Moon - Kevin, Ben
Steve Martin and Edie Brickell, Love Has Come For You - Jonathan
Buddy Miller and Jim Lauderdale, Buddy and Jim
Mavis Staples, One True Vine
Allen Touissant, Songbook - Sam
Kevin: Martin & Brickell might be the most logical choice, but in a category stacked with veterans, Harris & Crowell must be tempting to voters who are long time fans of both.
Sam: The fact that Jason Isbell wasn’t nominated here shows that Americana music has a long way to go before Grammy voters stop using it at the place where all veteran singer/songwriters end up. As for this year, Allen Touissant is older and has past Grammy love, so my money is on him.
Jonathan: The strongest, most vital year for Americana music in a decade is rewarded with a staid slate of nominees. Old Yellow Moon is the obvious standout and could very well win, but I think Martin’s well-received album with Brickell has the edge based on Martin’s celebrity.
Best Bluegrass Album
Should Win:
The Boxcars, It’s Just a Road
Dailey & Vincent, Brothers of the Highway – Jonathan
Della Mae, This World Oft Can Be
James King, Three Chords and the Truth
Del McCoury Band, The Streets of Baltimore
Will Win:
The Boxcars, It’s Just a Road
Dailey & Vincent, Brothers of the Highway
Della Mae, This World Oft Can Be
James King, Three Chords and the Truth
Del McCoury Band, The Streets of Baltimore - Kevin, Jonathan, Ben
Kevin: Haven’t heard these albums enough to have a personal favorite, but I think the Del McCoury Band’s name recognition will power it to a win.
Jonathan: Both the Del McCoury Band and Dailey & Vincent are nominated for some of their very best work, and either would be a richly deserving winner. Della Mae have a fairly vocal fanbase, but it isn’t clear if that fanbase overlaps with the Grammy voter bloc enough to unseat one of the two bigger-name acts.
Best Folk Album
Should Win:
Guy Clark, My Favorite Picture of You – Kevin, Ben
The Greencards, Sweetheart of the Sun
Sarah Jarosz, Build Me Up From Bones – Jonathan
The Milk Carton Kids, The Ash & Clay
Various Artists, They all Played for Us: Arhoolie Records 50th Anniversary Celebration
Will Win:
Guy Clark, My Favorite Picture of You - Kevin, Ben, Jonathan
The Greencards, Sweetheart of the Sun
Sarah Jarosz, Build Me Up From Bones
The Milk Carton Kids, The Ash & Clay
Various Artists, They all Played for Us: Arhoolie Records 50th Anniversary Celebration
Kevin: Sentimental favorite who also put out a great album? How can they deny Guy Clark?
Jonathan: I’m tempted to pick the Arhoolie Records without having heard it, simply because it just seems like something the idiosyncratic Grammys would go for. Clark is a safer bet for his beautifully observed album, while the ascendant Jarosz would get my vote for her career-best work.
“Dust” tells the story of an interesting woman who is leaving her past behind her in the…dust.
I’m most surprised, and impressed, by the complete absence of a guy in this song. This girl’s leaving to get her life started, and sheds a tear for what she leaves behind, but knows her future is waiting in front of her. I guess it could be a guy she’s shedding a tear for, but it’s just as likely that she’s going to miss her family and the town she grew up in.
I’m still waiting for Taylor Swift to write a great song that has nothing to do with a guy, so I’m happy to hear a male act put one together, and one with only a token physical description (“baby blue eyes”) to boot.
That being said, the whole sound of the record is Bon Jovi lite. That would’ve been an insult to a country band not too long ago, but today, it means that the song is professionally done and not too cluttered. Nothing identifiably country about it, but then again, nothing identifiably bad, either. I’ll take it.
Written by Kyle Jacobs, Jon Jones, Josh Osborne, and James Young
For the second year in a row, our seven writers – Kevin Coyne, Leeann Ward, Dan Milliken, Tara Seetharam, Ben Foster, Jonathan Keefe, and Sam Gazdziak – individually listed our twenty favorite albums and singles of the year. It’s a diverse crop of singles, some of which dominated country radio, while others were primarily heard in the Americana, bluegrass, and alternative country worlds. Today, we present the first half of our singles list, with the conclusion to follow tomorrow. Share your favorites in the comments!
#40
“Someone Somewhere Tonight” Kellie Pickler
Individual rankings: #16 – Ben; #19 – Tara
A sweeping power ballad anchored by an intimate chorus and Pickler’s pleading sincerity. - Tara Seetharam
#39
“Strong” Will Hoge
Individual rankings: #10 – Sam
Yeah, it’s the Chevy song, but whatever it takes to get Will Hoge introduced to a larger audience can’t be a bad thing. His lyrics about a true salt-of-the-earth individual ring true without ever steering into maudlin territory, and the line, “he ain’t jut tough, he’s strong,” is a great hook. It probably moved a fair number of pickup trucks, too. - Sam Gazdziak
#38 “Bourbon in Kentucky” Dierks Bentley
Individual rankings: #9 – Leeann
Although Bentley vies for radio play, “Bourbon in Kentucky” still sounds unique enough to stand out from the generic bombast of the male players on current country radio. In service to the intense angst of the song, the wailing guitars and the mix of Bentley’s and Kacey Musgraves’ emotive vocals make this single a riveting sonic and emotional experience. - Leeann Ward
#37 “You and I” Laura Bell Bundy
Individual rankings: #8 – Jonathan
Laura Bell Bundy goes more-Shania-than-Shania on a cover of Lady Gaga’s “You and I” that aches and shakes in equal measure. Bundy’s music is best when she embraces her campiest impulses, so it makes perfect sense for her to take a signature hit by the most theatrical star in pop and lasso it into the country genre. - Jonathan Keefe
#36 “You Can’t Make Old Friends” Kenny Rogers and Dolly Parton
Individual rankings: #7 – Kevin
After several attempts to recreate the youthful playfulness of the classic “Islands in the Stream”, Rogers and Parton embrace their age and confront their own mortality. It’s an obvious truth that no matter how great a new friend is, they can’t replace the shared memories of someone you’ve known for a long time. Even if you’ve since parted ways, you still share a part of the other’s identity. How fitting that these two old friends are ours as well, making the entire proceedings that much more poignant. - Kevin Coyne
#35
“I’ll Be There” The SteelDrivers
Individual rankings: #7 – Leeann
It’s almost unheard of for a group to lose a lead singer as dynamic as Chris Stapleton and still be as strong as ever with a replacement. Gary Nichols, however, managed to seamlessly slip into the SteelDriver’s front spot with the newly revamped band’s first single, “I’ll Be There.” The song is deliciously haunting both in content and melody. - Leeann Ward
#34 “Want Me Too” Charlie Horsham
Individual rankings: #7 – Dan
Imagine if your favorite Keith Urban song and your favorite Diamond Rio song were to meet in the middle ‘neath that old Georgia pi-i-iiine. You might end up with something like Worsham’s second single, a lovestruck tail-wagger with Urban drive and Rio harmonies. Show me a cuter line from this year than “My heart’s skippin’ like a stone on the water!” - Dan Milliken
#33 “Red” Taylor Swift
Individual rankings: #6 – Dan
“Red” is a curious mix of brilliant similes (“Fighting with him was like trying to solve a crossword and realizing there’s no right answer”), plain ol’ descriptions posing as similes (“Touching him was like realizing all you ever wanted was right there in front of you”), and logical pretzels twisted against their will into similes (“Forgetting him was like trying to know somebody you never met”—what!). But Swift’s passion and command of melody pull the disparate pieces together, resulting in one of the year’s most unique and compulsively listenable singles. - Dan Milliken
#32
“All Over the Road” Easton Corbin
Individual rankings: #6 – Ben
A delicious slice of steel-heavy nineties-esque escapist country bliss – complete with a breezy melody and an infectious, laid-back vocal performance. More please. - Ben Foster
#31 “Beat This Summer” Brad Paisley
Individual rankings: #11 – Ben; #19 – Leeann
With a hooky sing-along melody, addictive guitar riff, and a unique genre-bending arrangement, Paisley proves that summer hits don’t have to suck. - Ben Foster
#30 “Pocket Change” Mando Seanz
Individual rankings: #5 – Sam
Texas radio stations jumped on this single when it was released, with good reason. Saenz has been known for his quiet, introspective ballads in the past, but “Pocket Change” starts with a slow burn before exploding into a full-blown rocker. “Where’s my Studebaker, I’m nobody’s pocket change,” he snarls as he walks/runs away from a bad love. - Sam Gazdziak
#29 “Weed Instead of Roses” Ashley Monroe
Individual rankings: #16 – Tara, Jonathan; #20 – Sam
One woman’s plea to pump some action into her deflated marriage – via weed, leather and whips. It pops because it’s provocative, but it works because Monroe blends delightful charm with tongue-in-cheek boredom like the pro that she is. - Tara Seetharam
#28
“See You Again”
Carrie Underwood
Individual rankings: #1 – Kevin
“See You Again” combines three of my favorite things: death, positivity, and power vocals. The entire premise that a person can look past their grief because their faith tells them they’ll be reunited with their lost loved one is hardly new to country music, but it’s rarely presented with such confident bravado and so little melancholy. I can’t think of another singer who could pull that off as believably as Underwood, who by the end of these proceedings makes me hope that the choir of angels in heaven sound like her insanely catchy backup singers do here. - Kevin Coyne
#27 “Carry Me Back to Virginia” Old Crow Medicine Show
Individual rankings: #9 – Sam; #12 – Jonathan
For anyone who wants to discover Old Crow Medicine Show beyond “Wagon Wheel,” this song is an excellent primer. Lightning-fast fiddle and vocals from Ketch Secor with a song about the Civil War, and crack band of musicians that favor enthusiasm over the precision that is often found in bluegrass. They’ve been often imitated but never duplicated. - Sam Gazdziak
#26
“Blowin’ Smoke” Kacey Musgraves
Individual rankings: #7 – Ben; #15 – Sam
For three glorious minutes, the voice of the working class is heard once again on country radio. Musgraves suitably renders the song with a rundown sigh of a performance, while a gritty, rumbling arrangement places the listener right in the midst of the smoky haze. - Ben Foster
On the surface, it’s obvious that this is about an entangled dysfunctional relationship, but listening deeper reveals that the relationship is with an addictive substance. Encased in a deep melancholy, the song cleverly and astutely captures the parallels with the two types of relational embattlements. The observations acknowledge that while the sources may be different, many of the general effects are the same. - Leeann Ward
A smooth yet moody cocktail of country, folk, and soul that rides its long drawl into a sweet, simple chorus. Shoulda been a hit. - Dan Milliken
#23
“DONE.” The Band Perry
Individual rankings: #6 – Jonathan; #15 – Tara
At a time when most contemporary country acts are aspiring to sound like arena rock, metal, and post-grunge bands that were terrible in the first place, The Band Perry at least had the good taste to blatantly rip off one of the best rock singles of the last decade for their hit “DONE.” - Jonathan Keefe
#22 “I Know What You Did Last Night” Pam Tillis & Lorrie Morgan
Individual rankings: #10 – Kevin, Ben
They may be in their fifties, but make no mistake about it: Pam Tillis and Lorrie Morgan can still party down when they want to. Built around good-humored conversational interplay between two old friends, “I Know What You Did Last Night” is one of the freshest, most entertaining up-tempos sent to radio this year, and a reminder that Tillis and Morgan are still two of country music’s most vibrant talents. - Ben Foster
#21 “I’d Rather Hear I Don’t Love You (Than Nothing at All)” Rhonda Vincent
Individual rankings: #9 – Ben; #10 – Leeann
Rhonda Vincent is always supreme whether she’s singing traditional bluegrass or, in this case, a good ol’ country weeper. Supported with the best kind of country acoustic instrumentation, Vincent’s voice satisfyingly leans into the heartbreak and desperation of a woman who is gripping a relationship that is obviously already dead. She knows it’s over, but her heart says that it’s not over until he literally says it’s over. - Leeann Ward
The nominations for the 56th Annual Grammy Awards have been announced. Taylor Swift has the top nomination connected to country music, earning her second nomination for Album of the Year. She took home the award four years ago for Fearless.
Here are the general category nominees, along with all country and country-related categories:
Album of the Year
Sara Bareilles, The Blessed Unrest
Daft Punk, Random Access Memories
Kendrick Lamar, good kid m.A.A.d. city
Macklemore & Ryan Lewis, The Heist
Taylor Swift, Red
If Taylor Swift wins, she will be the first country-related artist in history to win the category twice with individual projects. Alison Krauss also has two victories, one for her collaboration with Robert Plant (Raising Sand, 2009), and another for her contributions to the O Brother Where Art Thou soundtrack (2002.) The award has only been won by country artists in two other years: Glen Campbell for By the Time I Get to Phoenix (1968), and the Dixie Chicks for Taking the Long Way (2007).
Record of the Year
“Blurred Lines” – Robin Thicke featuring T.I. and Pharrell Williams
“Get Lucky” – Daft Punk featuring Pharrell Williams
“Locked Out of Heaven” – Bruno Mars
“Radioactive” – Imagine Dragons
“Royals” – Lorde
For the third time in the last eight years, no country or country-related records make the cut. Only four country-related winners have triumphed in this category, but three of them have been in the last few years. Olivia Newton-John won for “I Honestly Love You” in 1975, followed much later by the Dixie Chicks for “Not Ready to Make Nice” in 2006; Robert Plant & Alison Krauss for “Please Read the Letter” in 2009; and Lady Antebellum for “Need You Now” in 2011.
Song of the Year
“Just Give Me a Reason” – Jeff Bhasker, P!nk, and Nate Reuss
“Locked out of Heaven” – Phillip Lawrence, Ari Levine, and Bruno Mars
“Roar” – Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry, and Henry Walter
“Royals” – Joel Little and Lorde
“Same Love” – Ben Haggerty, Mary Lambert, Ryan Lewis, and Curtis Mayfield
For the third straight year, country is shut out of the top songwriting category, a streak that began after the writers of Lady Antebellum’s “Need You Now” won in 2011.
Best New Artist
James Blake
Kendrick Lamar
Macklemore & Ryan Lewis
Kacey Musgraves
Ed Sheeran
Kacey Musgraves is the latest new artist to represent country music in this category, which has become a nearly annual occurrence since LeAnn Rimes was nominated and won back in 1997. Previous country winners also include Bobbie Gentry (1968), Carrie Underwood (2007) and Zac Brown Band (2010).
Best Country Album
Jason Aldean, Night Train
Tim McGraw, Two Lanes of Freedom
Kacey Musgraves, Same Trailer Different Park
Blake Shelton, Based on a True Story
Taylor Swift, Red
Despite the presence of four big, established stars, only Taylor Swift has actually earned a victory in this category. She won in 2010 for Fearless. She contended again in 2012 with Speak Now, which lost to repeating victors Lady Antebellum, who won two years in a row for Need You Now (2011) and Own the Night (2012). Kacey Musgraves earns a nomination for her debut album, the first artist do so since 2005, when Gretchen Wilson contended with Here For the Party.
Best Country Solo Performance
Lee Brice, “I Drive Your Truck”
Hunter Hayes, “I Want Crazy”
Miranda Lambert, “Mama’s Broken Heart”
Darius Rucker, “Wagon Wheel”
Blake Shelton, “Mine Would Be You”
Since this category combined the solo categories into one, this award has been one by Taylor Swift (“Mean”) and Carrie Underwood (“Blown Away.”) Lambert is the only previous winner in a predecessor of this category.
Best Country Duo/Group Performance
The Civil Wars, “From This Valley”
Kelly Clarkson featuring Vince Gill, “Don’t Rush”
Little Big Town, “Your Side of the Bed”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Kenny Rogers and Dolly Parton, “You Can’t Make Old Friends”
There’s really only one hit here, but there are plenty of former Grammy winners scattered among this category. In case you’re wondering, the answer is no, they didn’t win a Grammy for “Islands in the Stream.”
Best Country Song
“Begin Again” – Taylor Swift
“I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
“Merry Go ‘Round” – Shane McAnally, Kacey Musgraves, and Josh Osborne
“Mine Would Be You” – Jessi Alexander, Connie Harrington and Deric Ruttan
It’s not too common for people to receive double nominations, but here there are four songwriters competing against themselves: Jessi Alexander, Connie Harrington, Shane McAnally, and Kacey Musgraves.
Best American Roots Song
“Build Me Up From Bones” – Sarah Jarosz
“Invisible” – Steve Earle
“Keep Your Dirty Lights On” – Tim O’Brien and Darrell Scott
“Love Has Come From You” – Edie Brickell and Steve Martin
“Shrimp Po-Boy, Dressed” – Allen Touissant
This category is brand new this year, encompassing songs from all of the subcategories in the American Roots field: Americana, bluegrass, blues, folk, and regional roots music.
Best Americana Album
Emmylou Harris and Rodney Crowell, Old Yellow Moon
Steve Martin and Edie Brickell, Love Has Come For You
Buddy Miller and Jim Lauderdale, Buddy and Jim
Mavis Staples, One True Vine
Allen Touissant, Songbook
Collaborations dominate this category, which is populated with many previous Grammy winners. Emmylou Harris won this award twice, back when it was called Best Contemporary Folk Album.
Best Bluegrass Album
The Boxcars, It’s Just a Road
Dailey & Vincent, Brothers of the Highway
Della Mae, This World Oft Can Be
James King, Three Chords and the Truth
Del McCoury Band, The Streets of Baltimore
Del McCoury Band are the only returning victors in this category, winning back in 2006 for The Company We Keep. Perhaps because of the broad voter base, this category has been dominated by acts with explicit ties to country music, including multiple wins by Ricky Skaggs, Jim Lauderdale, and Alison Krauss & Union Station, and one-off victories by Patty Loveless and Dolly Parton. This year is the second in a row without crossover contenders; last year’s winner was the Steep Canyon Rangers for Nobody Knows You.
Best Folk Album
Guy Clark, My Favorite Picture of You
The Greencards, Sweetheart of the Sun
Sarah Jarosz, Build Me Up From Bones
The Milk Carton Kids, The Ash & Clay
Various Artists, They all Played for Us: Arhoolie Records 50th Anniversary Celebration
A tribute to Guy Clark earned a nomination in this category last year, and now Clark himself is in contention for the prize. None of the acts in contention have won in the folk fields before.
Also of note, the Pistol Annies set Annie Up earned nominations for engineer Chuck Ainlay and mastering engineer Bob Ludwig in the Best Engineered Album, Non-Classical category. It competes against Daft Punk, another album mastered by Ludwig, along with sets by Alice in Chains, Queens of the Stone Age, Andrew Duhon, and Madeline Payroux.
Brett Eldredge caught the critics’ attention with 2010’s heartstring-tugging ballad “Raymond,” and caught radio’s and fans’ attention with his gold-selling number-one single “Don’t Ya,” while a coveted opening slot on Taylor Swift’s Red Tour certainly didn’t hurt. He aims to pull off a successful one-two punch with his latest radio bid, “Beat of the Music,” currently in the Top 40 and climbing.
As suggested by its title, “Beat of the Music” is a light-hearted up-tempo that goes down smooth and easy, with Eldredge’s narrator “falling in love to the beat of the music” and the beaches of Mexico serving as a backdrop. Such may be well-traveled territory for today’s country hits, but “Beat of the Music” transcends its rudimentary lyrical content by creating just the right musical atmosphere. The track begins with a sparse arrangement which builds toward the song’s exuberant chorus. A hand clap section and an inviting melody ensure that toes are quickly set tapping.
In spite of needless digital effect during the chorus, the single also proves an effective showcase of the vocal talents one of country radio’s most distinctive and dynamic male newcomers. Eldredge’s rich baritone bends the notes just night, rendering the song with a flair that makes “Beat of the Music” an effortlessly entertaining listen. It doesn’t reinvent the wheel, but as a bit of feel-good pop-country fun, “Beat of the Music” gets it right.
Written by Brett Eldredge, Ross Copperman and Heather Morgan
The festivities begin at 8 PM EST. Refresh for updates and check for winners above the fold:
Winners:
Entertainer: George Strait
Male Vocalist: Blake Shelton
Female Vocalist: Miranda Lambert
Vocal Group: Little Big Town
Album: Blake Shelton, Based On a True Story…
New Artist: Kacey Musgraves
Vocal Duo: Florida Georgia Line
Song: “I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
Single: “Cruise” – Florida Georgia Line
Music Video: “Highway Don’t Care” – Tim McGraw with Taylor Swift and Keith Urban; director: Shane Drake
Musical Event: “Highway Don’t Care” – Tim McGraw with Taylor Swift and Keith Urban
Live Blog (EST):
7:04 First two wins go to “Highway Don’t Care” for Music Video and Vocal Event. First wavering of previously held sentiment: I totally want George Strait to win Entertainer of the Year for his farewell tour. – KJC
8:01 It’s 8:01 and Luke Bryan is wearing a glittery shirt. I’m already confused. – KJC
8:03 And the show starts with two of the most insufferable songs of the year (to me). Where’s the money shot of Zac Brown’s face? -TS
8:06 Weird how we can go from such a horrible representation of the genre to such a charming one. Carrie/Brad >>>Luke/FGL. – KJC
8:08 Brad and Carrie shining as always. This feud sketch is stellar. Thoughts on the Julianne Hough dig? – TS
8:09 It would be nice if there was someone other than Darius Rucker to hand the name to. – KJC
8:10 A bunch of rich people with insurance making health care jokes. Privilege goes down smooth with “Amarillo by Morning.” – KJC
8:10 “Cruise” is only one of the biggest crossovers of all time because they changed the chart rules. Boo. – KJC
8:12 I thought that was Blake Shelton in a costume. Turns out it’s the real Duck Dynasty guys. Wow. – KJC
8:15 SINGLE OF THE YEAR: “Cruise” – Florida Georgia Line. (That is not a typo.)
8:17 I can’t think of anything quippy, I’m so disgusted by this FGL win! – LW
8:20: CMA Awards 1992: The feud is Billy Ray Cyrus vs. Travis Tritt, and “Achy Breaky Heart” wins Single of the Year over “Maybe it Was Memphis”, “I Feel Lucky”, “Love, Me” and “Look at Us.” The more things change… – KJC
8:23 Jason Aldean singing “Night Train” is the best actual performance so far. We’re reaching a point where last year’s nadir is this year’s apex. Where’s Kacey Musgraves? – KJC
8:25 There she is. Singing a Brandy Clark co-write. Now we’re talking. -KJC
8:28 Can we take a moment to reflect on how awesome this chick’s mainstream success is? She’s looking and sounding fab here. Love this song. – TS
8:30 Always nice to hear some actual audible steel guitar on the CMAs for a change. – BF
8:34 Who else feels like a giddy 14-year-old listening to this new Lady Antebellum song? I’m not sure if that’s a good or bad thing. – TS
8:35 Lady Antebellum with “Compass,” a song which is really growing on me. It sounds like it was made for a live setting. – BF
8:37 Song: “I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
8:38 Lee Brice wins Song of the Year with “I Drive Your Truck.” I’m not complaining. - TS
8:41 I feel like “I Drive Your Truck” is a surprise win…but maybe that just shows how much I’m out of the mainstream these days. – LW
8:42 As truck songs go, it’s not a bad one. But wow, there was so much more compelling material to choose from this year. – KJC
8:44 “Sober.” YES. – BF
8:45 Every year, there’s at least one performance that makes it clear that it’s not the sound system’s fault that everyone sounds bad. This year, it’s Little Big Town. They sound fantastic. – KJC
8:46 I’ll say it again: I always love LBT live, even if I don’t love the recorded version of the same song. – LW
8:45 LBT nailing “Sober” with a sparse and spiritual performance. – TS
8:46 LBT sounding fantastic as usual. This is one of those performances that makes me glad I tuned in in spite of all the drivel. – BF
8:47 Vocal Duo: Florida Georgia Line
8:48 For one brief moment, I was clinging to a tiny shred of hope that The Civil Wars would get it. I don’t know why. – BF
8:53: Keith and Miranda with “We Were Us.” I actually think I’m liking this performance better than the studio version. It’s one of those songs that I like well enough, but would like better if it had a better production. – BF
9:00 Having Vince Gill and Alison Krauss onstage doesn’t exactly invite favorable comparison to Taylor Swift’s vocal abilities, but I am enjoying this performance. I love hearing the cheers for Vince and Alison.
9:02 Incidentally, I may be going crazy, but I actually think T-Swift is sounding quite decent tonight. – BF
9:02 The R-eh-eh-ed hook doesn’t work in this setting. – KJC
9:01 I feel like the TS collaboration with Vince and Alison could be good, but my sound must be messed up, because it’s not working for me… – LW
9:02 Even when Taylor isn’t sounding as bad as she usually does, it’s pretty daring of her to sing with two of the best voices in country music! – LW
9:04 Florida Georgia Line performing “Round Here.” – BF
9:10 Hunter Hayes and Jason Mraz with “Everybody’s Got Somebody But Me.” I’m actually enjoying this so far. – BF
9:12 Hunter Hayes channeling Gary LeVox with this messy live performance. This kid has so much potential, though. – TS
9:12 New Artist: Kacey Musgraves
9:13 Woohoo! I could not be happier for Kacey. This is one that the CMA got very, very right. – BF
9:14 I liked that Hayes/Mraz performance – LW
9:14 Eric Church performing “The Outsiders.” – BF
9:16 I don’t think Eric Church’s backup singers are actually making those sounds – KCJ
9:17 I wonder what the aforementioned Tom Petty thinks of this one. Me, I kinda dig it. - TS
9:18 Does that bass breakdown in the Church song remind anyone else of “The Devil Went Down to Georgia”? – LW
9:19 It would be hilarious if this segued right into the George jones tribute. – KJC
9:23 The Band Perry performing “Don’t Let Me Be Lonely.” – BF
9:24 I’m half expecting Jennifer Nettles to walk out during this Sugar Land-lite tune. Really, though, that would be kind of awesome. – TS
9:28 Sheryl Crow presenting Album of the Year. – BF
9:29 Album: Blake Shelton, Based On a True Story…
9:29 Blech. So much for my optimism is predicting an LBT win here.
9:31 This is pretty much the worst slate of winners I can remember. – KJC
9:31 Tim McGraw performing “Southern Girl.” – BF
9:32 I’ve decided the CMA voters are just trolling now. – KJC
9:33 This song gets on my nerves so bad. I can’t believe the songwriters have the bad taste to rhyme “girl” with “rock my world.” – BF
9:35 And there’s glitter on Tim’s hat. – KJC
9:35 Nashville fans, do you get a 90s Rayna James vibe from this song? Have I lost my mind? – TS
9:35 What is with all the glitter? – KJC
9:40 Nice to hear some acknowledgement for Cowboy Jack Clement and Bobby Bare.
9:40 Blake Shelton performing “Mine Would Be You.” – BF
9:44 Not one part of me can get behind a Blake Shelton AOTY win, but this is a decent song and performance. – TS
9:47 Tim McGraw, Faith Hill, Keith Urban, George Strait, and Rascal Flatts presenting Taylor Swift with the CMA Pinnacle Award.
9:48 Leeann: I would like to hear George Strait do a Swift song. – LW
9:49 LOL to Keith Urban describing Taylor Swift’s contribution to country music while “22″ plays in the background. – TS
9:50 LOL at Ellen’s “Pineapple Award” quip! – BF
9:51 ”The Pinnacle Award?” Okay ,they’re just making things up now. No time for the Hall of Fame inductees, but time for this. And stop acting so shocked. They announced this beforehand. – KJC
9:54 This is like the first husband who knows his wife is leaving and tries to keep her by giving a really shiny piece of jewelry. – KJC
9:56 But it’s not on her. It’s on them. We got a stupid award made up in 2005 for Garth Brooks, with Mick Jagger and Julia Roberts shout-outs, and nothing but a three-second wave for Bobby Bare. Too much. – KJC
10:01 Carrie Underwood highlight reel from the past year leading up to her Entertainer of the Year award… Oh, wait – KJC
10:05 So Tim McGraw got a standing O but Carrie polite applause? Huh. – KJC
10:05 Disappointed in her team for taking the lazy route with this medley, but nonetheless proud of Carrie for, ahem, following her own arrow during this Blown Away era. My EOTY. – TS
10:05 So weird that Carrie’s doing a medley. It’s usually what people do when they’re not big anymore… – LW
10:05 I really enjoy Carrie’s voice these days. – LW
10:07 Vocal Group: Little Big Town
10:07 Can’t complain about LBT. Though they still look like ABBA to me. – KJC
10:08 Beautiful shout-out to Nancy Jones. – KJC
10:09 Loving the George Jones tribute with George Strait and Alan Jackson. I cannot think of two guys better qualified for this job. – BF
10:11 First time tonight I couldn’t take my eyes off the screen. Just lovely. – TS
10:12 So much history. So much love. – KJC
10:14 Kinda weird how the Opry can be just like a digital backdrop, given how many years the show was aired from the actual Opry. It feels sometimes like the arena has swallowed the CMA show like arena rock has swallowed country music. - KJC
10:14 The Jones tribute was wonderful. I felt a bit emotional during. I’m such a wimp. – LW
10:17 Zac Brown Band with Dave Grohl of The Foo Fighters debuting a new song, “Day of the Dead.” – BF
10:21 Between this and Eric Church’s “The Outsiders,” I’m all kinds of confused and happy. – TS
10:22 Brad Paisley performing “The Mona Lisa.” – BF
10:31 The Kenny Rogers tribute begins with Jennifer Nettles. – BF
10:32 Jennifer Nettles is certainly doing her best Dolly Parton impression. – KJC
10:32 Rascal Flatts singing “Just Dropped In (To See What Condition My Condition Was In).” – BF
10:33 Darius Rucker singing “The Gambler.” This I can take, but if given a choice, I would just as soon hear Kenny Rogers sing it himself. – BF
10:35 Kenny Rogers singing “Islands In the Stream.” I love this song. Unashamedly. – BF
10:35 The audience sing-along to these Kenny Rogers tunes is my favorite part of the night so far. – TS
10:35 I’m enjoying hearing Jennifer Nettles sing this, but I can only imagine the warm fuzzies I would be getting if Dolly were onstage singing it. – BF
10:36 Wow. Darius did a rough job on “The Gambler.” Nettles and Rogers doing “Islands in the Stream” works for me! - LW
10:39 Female Vocalist: Miranda Lambert
10:40 Eh. Not my choice this year, but she’s being classy as ever in her acceptance speech. – BF
10:42 Very sweet of Miranda to recognize the other females in the category. Don’t agree with it, but there are worse things than her fourth FVOTY trophy (see: basically every other award given out today). – TS
10:44 Miranda is always classy when she accepts these awards. – LW
10:44 Given how the night’s gone so far, can we just call Male and Entertainer for Blake now? – KJC
10:46 Luke Bryan performing “Drink a Beer” (“a very personal and meaningful song dedicated to the memory of his brother and sister”). – BF
10:49 Leeann: I’ll admit that as much as I hate Luke’s music these days, I soften when I think of how he lost two siblings within a short span. I’m just a sap that way, I guess. – LW
10:49 It’s so easy to forget what a good vocalist Luke Bryan is these days. Wish that weren’t the case. His voice deserves better material. – TS
10:50 It’s nice to hear Luke Bryan singing in a quieter setting. – BF
10:50 This is a great song that is being sung well…on the set of Once Upon a Time. ABC sure is good with the corporate synergy. – KJC
10:50 Seriously? He even turns a song about his deceased siblings into a beer-drinking song? That takes…something. – LW
10:50 Male Vocalist: Blake Shelton
10:51 Can we just get over Blake Shelton already? – BF
10:51 Blake Shelton, however, is not in the same league as the other two men who won four of these at the time that they won. – KJC
10:53 Other two: Vince Gill and George Strait. – KJC
10:53 I can’t even. – TS
10:56 Blake Shelton, Vince Gill and George Strait: One of these things is not like the other. – TS
10:57 I’ve learned to accept that ABC is going to use the CMA Awards to shamelessly plug their programming. I just wish that they’d leave the Entertainer of the Year award out of it. – BF
10:57 Entertainer: George Strait
10:58 That just saved the whole night. – KJC
10:59 I share Kevin’s remorse for not picking George Strait for Entertainer. Was he on the top of his game this year? No. But he’s still the only nominee whom I can be genuinely happy for their winning. – BF
11:00 Keith Urban’s arms in the air is the best reaction to George Strait’s EOTY win. I had the privilege of seeing and reviewing his farewell concert earlier this year, and he is an entertainer indeed. – TS
11:01 Go King Gentleman George Strait!! I’m so, so happy for George Strait right now! Strait is so classy. – LW
10:03 Thanks so much for hanging with us, y’all. Not a bad show, in all honesty. All props to Ben for keeping this post alive in the midst of technical difficulties! – TS
10:03 That was almost worth the three hours. Almost! – KJC
10:04 I’m relieved that that didn’t wind up another Blake Shelton victory. – BF
10:04 Thanks, all! This was a blast. Rough show as usual, but we had a few great moments. – BF
Since its inception, the top honor an artist could be given at the Country Music Association awards is this one: Entertainer of the Year. Originally a revolving door of winners, the winner in early years was often not even nominated the following year. In 1981, Barbara Mandrell became the first artist to win the award twice. Alabama succeeded her with a three year run from 1982-1984. Fourteen years later, Garth Brooks became the first artist two win four times, a feat later matched by Kenny Chesney in 2008.
Here’s a look back at the award from the very beginning, along with some facts and feats about the category and its nominees.
1967
Bill Anderson
Eddy Arnold
Merle Haggard
Sonny James
Buck Owens
One year after being inducted into the Country Music Hall of Fame, Eddy Arnold was named the very first Entertainer of the Year at the inaugural CMA awards in 1967. Don’t assume it was a sympathy vote. Arnold had three #1 hits in the twelve months leading up to the ceremony, as he was in the middle of his impressive mid-sixties comeback, a period best defined by the 1965 classic, “Make the World Go Away.” He remains the only member of the Hall of Fame to win this award after being inducted.
1968
Eddy Arnold
Glen Campbell
Johnny Cash
Merle Haggard
Charley Pride
Glen Campbell was a big awards favorite in 1968, with “By the Time I Get to Phoenix” and “Gentle On My Mind” both dominating the Grammy awards earlier that year. His win in this category foreshadowed bigger things, as he soon became a network variety star, while also scoring major country and pop hits with “Wichita Lineman” and “Galveston.”
1969
Glen Campbell
Johnny Cash
Roy Clark
Merle Haggard
Charley Pride
Johnny Cash’s career was rejuvenated on the strength of two live prison albums, the latter of which produced the massive Shel Silverstein-penned smash, “A Boy Named Sue.” His victory came in a year that marked the beginning of his network variety show and had him dominating the country singles charts, spending ten combined weeks at #1 with “Sue” and “Daddy Sang Bass.”
1970
Glen Campbell
Johnny Cash
Roy Clark
Merle Haggard
Charley Pride
Merle Haggard was a mainstay in this category from the beginning, nominated in each of the first seven years of the CMA Awards. His victory in 1970 coincided with his commercial peak, with signature hits “The Fightin’ Side of Me” and “Okie From Muskogee” helping him secure his only win in this category.
1971
Merle Haggard
Loretta Lynn
Charley Pride
Jerry Reed
Conway Twitty
The last of four consecutive years where the Male Vocalist winner matched the Entertainer winner, Charley Pride went home with both awards in 1971. A winner on his fourth nomination, his popularity skyrocketed upon the release of “Kiss an Angel Good Morning,” which was climbing the charts at the time of the awards ceremony.
1972
Merle Haggard
Freddie Hart
Loretta Lynn
Charley Pride
Jerry Reed
Instead of attending the awards show, Loretta Lynn’s husband Mooney went hunting. He didn’t want to watch her lose, but he missed watching history unfold as she became the first woman to win Entertainer of the Year. Lynn’s victory came on the heels of both solo hits like “One’s on the Way” and her popular duets with Conway Twitty.
1973
Roy Clark
Merle Haggard
Tom T. Hall
Loretta Lynn
Charley Pride
Today he’s best known for Hee Haw, the country music variety show that he co-hosted, and it’s no coincidence that he won while the show was in its prime. Still, Clark is also one of country’s most admired legends, and his legacy goes far beyond the television show that showcased his extensive musical and comedic talents.
1974
Roy Clark
Mac Davis
Loretta Lynn
Olivia Newton-John
Charlie Rich
The massive success of “The Most Beautiful Girl” and “Behind Closed Doors” helped Charlie Rich win this award. It was a long time coming, as Rich toiled in obscurity despite critical acclaim for his work. He would continue to score big hits on the country and pop charts over the next couple of years, at one point charting hits on different labels at the same time.
1975
John Denver
Waylon Jennings
Loretta Lynn
Ronnie Milsap
Conway Twitty
John Denver’s victory in this race led to the most infamous moment in CMA history. Though he claimed it was due to medication later on, presenter Charlie Rich seemed to be making a furious statement against the pop crossover artists dominating country music when he opened the envelope, read it, and then lit a cigarette lighter and burned the envelope. The paper went up in flames as he derisively snarled the winner’s name, “My friend, Mister John Denver.” Poor John, accepting via satellite, was clueless to what was going on at the Opry house, and graciously accepted his award.
1976
Waylon Jennings
Ronnie Milsap
Willie Nelson
Dolly Parton
Mel Tillis
This 2007 Hall of Fame inductee won this award just as he was changing labels. Tillis first gained notoriety for his remarkable songwriting talent, but eventually he was scoring enough hits to earn a place in this category. He would go on to have several more big hits after winning this award, earning another nomination in this category two years later.
1977
Merle Haggard
Waylon Jennings
Ronnie Milsap
Dolly Parton
Kenny Rogers
Ronnie Milsap dominated the CMA Awards, becoming one of its most frequently honored performers during the formative years of the awards show. He finally won the big prize on his third try, powered by the success of his classic hit, “It was Almost like a Song.”
1978
Crystal Gayle
Ronnie Milsap
Dolly Parton
Kenny Rogers
Mel Tillis
Her famous quote – “I’m not leaving country. I’m taking it with me” – must have held some water with the Nashville establishment, as Parton won this award at the height of her pop crossover success with “Here You Come Again,” the title track of her first platinum album. The front of her dress popped open before she went up to receive the trophy, prompting her to quip, “That’s what I get for trying to put fifty pounds of mud in a five pound bag.”
1979
Crystal Gayle
Barbara Mandrell
Willie Nelson
Kenny Rogers
Statler Brothers
He never won Male Vocalist of the Year, but superstar Willie Nelson was given his due by the CMA in 1979 when they awarded him Entertainer of the Year. While it wasn’t his biggest year on the charts, residual goodwill from Stardust and his collaborations with Waylon Jennings helped carry him to victory.
1980
Charlie Daniels Band
Larry Gatlin & The Gatlin Brothers
Barbara Mandrell
Willie Nelson
Kenny Rogers
She had a few big hits in 1980, like “Crackers” and “The Best of Strangers.” But it was her incredibly popular variety show with sisters Louise and Irlene that truly showcased her versatility as an entertainer, securing the first of two wins in this category.
1981
Alabama
George Jones
Barbara Mandrell
Oak Ridge Boys
Kenny Rogers
Despite sharing the category with four artists who had never won this award, Barbara Mandrell became the first artist in CMA history to win Entertainer of the Year for the second time. Credit the continued popularity of her television show and the biggest hit of her career, “I Was Country When Country Wasn’t Cool”, which featured a guest turn by fellow nominee George Jones.
1982
Alabama
Barbara Mandrell
Willie Nelson
Oak Ridge Boys
Ricky Skaggs
The band that laid the groundwork for all other country bands that followed, Alabama set a new bar for commercial success in the early eighties. The eligibility period included the release of their biggest-selling studio album, and also two of their signature hits: “Mountain Music” and “Love in the First Degree.”
1983
Alabama
Merle Haggard
Barbara Mandrell
Willie Nelson
Ricky Skaggs
As their studio albums sold in the millions, every single Alabama released to radio was hitting #1, a stretch that would eventually include 21 consecutive chart-toppers. They repeated in this category on the strength of hits like “Dixieland Delight” and “The Closer You Get.”
1984
Alabama
Lee Greenwood
Barbara Mandrell
Ronnie Milsap
Oak Ridge Boys
A mere three years after Barbara Mandrell made history by being the first artist to win two Entertainer awards, Alabama went her one better and won three. They remain one of only two acts to win this award three years in a row, doing so as their hits “Roll On (Eighteen Wheeler)” and “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” dominated the airwaves.
1985
Alabama
Lee Greenwood
Reba McEntire
Ricky Skaggs
George Strait
Few country artists command as much respect as Ricky Skaggs, a consummate singer and musician. Skaggs’ victory in this category signaled the resurgence of traditional country music, as he was the first winner since 1976 to not have achieved crossover hits on pop radio.
1986
The Judds
Reba McEntire
Willie Nelson
Ricky Skaggs
George Strait
One of the most popular new traditionalists of the mid-eighties, McEntire achieved her commercial breakthrough with “Whoever’s in New England”, which was aided in popularity by her first of many high-concept music video clips. McEntire would eventually become the most nominated woman in history, scoring ten nominations over eleven years.
1987
The Judds
Reba McEntire
George Strait
Randy Travis
Hank Williams, Jr.
When Hank Williams, Jr. won the Music Video award the previous year, he reminded voters, “I make audio, too.” They finally got around to acknowledging his meaningful contributions to the genre, awarding him the first of two Entertainer trophies in 1987.
1988
The Judds
Reba McEntire
George Strait
Randy Travis
Hank Williams, Jr.
Hank Jr. may have waited a long time for some CMA love, but once it came, it was in droves. He won Album of the Year the same night he repeated in this category. His biggest hit of the year, “Young Country”, featured guest appearances by up and comers like Highway 101 and Marty Stuart.
1989
Reba McEntire
Ricky Van Shelton
George Strait
Randy Travis
Hank Williams, Jr.
Three years after his most recent Male Vocalist trophy, megastar George Strait was named Entertainer of the Year. He would go on to have one of his biggest years at radio, with two multi-week #1 singles in the twelve months that followed his victory.
1990
Clint Black
Kathy Mattea
Ricky Van Shelton
George Strait
Randy Travis
While Randy Travis dominated the Male Vocalist race, George Strait was given his due again in the Entertainer category. He wore an Entertainer of the Year cowboy belt on the cover of Livin’ it Up, perhaps giving him good luck toward his second victory. He remains the most nominated in this category, and is only the second Hall of Famer to receive a nomination after being inducted into the Hall.
1991
Clint Black
Garth Brooks
Vince Gill
Reba McEntire
George Strait
A mere year after winning the Horizon award, Garth Brooks was the Entertainer of the Year at the CMA Awards. He was breaking every sales record in the book by that point. Shortly before the ceremony, he became the first country artist to enter the overall album chart at #1, leading to a media frenzy that gained unprecedented exposure for both Garth and the genre he represented.
1992
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
Travis Tritt
Given that he was already the biggest-selling country artist the world had ever seen, it was no surprise that Garth Brooks won his second Entertainer of the Year trophy in 1992. His continued popularity was fueled by sold out live shows that soon led to network specials showcasing his unique brand of arena country.
1993
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
Vince Gill capped off an amazing night at the 1993 CMA Awards with his first victory in this category. It was his fifth win of the night, as he also took home Male Vocalist, Song, Album and Vocal Event. As he was also the show’s sole host, the collective exposure pushed him to multi-platinum sales.
1994
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
The soft-spoken Gill won for a second year, which was no big surprise given his widespread popularity in Music City. He also went home with Album and Male Vocalist the same night, giving him a stunning fourteen trophies in only five years.
1995
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
As one of the evening’s top nominees, Alan Jackson brought his parents as his special guests. After losing in every other category, he expressed relief that he finally won something, as going home empty handed would’ve been embarrassing. Jackson would eventually become one of the organization’s most awarded artists.
1996
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
George Strait
They were already winners of five CMA awards, due solely to their domination of the Vocal Duo category. But in 1996, they finally won another race, and it was a big one. Brooks & Dunn remain the only duo to win this award, with The Judds and Sugarland being the only other duos to receive nominations.
1997
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
George Strait
In a year when all five nominees had won this award before, it was Garth Brooks who returned to the winner’s circle, tying Alabama’s long-standing record of three victories in this category. Adding to the sense of déjà vu, this was the third year in a row where all five nominees were the same.
1998
Brooks & Dunn
Garth Brooks
Vince Gill
Tim McGraw
George Strait
As hard as it is to believe that there were any records left for him to break by 1998, Garth Brooks shattered another one, becoming the first artist in the history of the CMA to win four Entertainer of the Year awards. By this time, Garth had already sold more than 60 million albums, and while he has yet to win this award again, he remains the top-selling solo artist of all time in the United States.
1999
Garth Brooks
Dixie Chicks
Tim McGraw
George Strait
Shania Twain
The odds seemed against Shania Twain, as she had never won a CMA award before and the last woman to win was Reba McEntire thirteen years earlier. Fittingly, McEntire was on hand to present the trophy to Twain, who won on the strength of Come On Over, which eventually became top-selling country album of all time and the top selling album of the decade from any genre.
2000
Dixie Chicks
Faith Hill
Alan Jackson
Tim McGraw
George Strait
The Dixie Chicks capped off a stunning three-year run at the CMA Awards with this victory, one of nine that they racked up since 1998. Within those three years, their first two albums each sold over ten million copies, and the band was widely credited for championing country radio and traditionalism while other top acts were crossing over to pop radio.
2001
Brooks & Dunn
Dixie Chicks
Alan Jackson
Tim McGraw
George Strait
After winning two Male Vocalist and two Album of the Year honors in the previous three years, Tim McGraw finally won the CMA’s top award. It was a satisfying acknowledgment of an artist who’d had his talent underestimated in the first few years of his stardom, but built up a reputation for his stellar taste in choosing material.
2002
Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
George Strait
Jackson’s win in 1995 came as he was reaching his commercial peak. In the years that followed, Jackson remained a successful and well-respected artist that got less attention every year when it came time to hand out awards. Then came the one-two punch of “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”, both of which were viewed as the very embodiment of all that makes country music unique and essential. This was one of five awards he was honored with that night.
2003
Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
Tim McGraw
Although the ACM had chosen Toby Keith as their standard bearer a few months earlier, the CMA stuck with the previous year’s winner Alan Jackson. By 2003, Jackson had evolved into an elder statesman for the genre, but still managed to stay relevant with hits both clever (“It’s Five O’Clock Somewhere”) and poignant (“Remember When.”)
2004
Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
Tim McGraw
Chesney’s long dry spell at the CMA’s came to a satisfying end as the superstar collected both Entertainer and Album of the Year trophies. He had been charting for eleven years before finally winning his first CMA award.
2005
Kenny Chesney
Alan Jackson
Toby Keith
Brad Paisley
Keith Urban
One of the most surprising and endearing wins in the history of this category, a shocked and humbled Urban accepted this award in New York City. He couldn’t have picked a better night to bring his Australian parents to the ceremony.
2006
Brooks & Dunn
Kenny Chesney
Brad Paisley
Rascal Flatts
Keith Urban
It’s pretty rare to come back and win this award for a second time, as most multiple wins have been consecutive in this category. But Kenny Chesney joined Garth Brooks and Alan Jackson as the only other artists to pull it off when he won in 2006, a club that would later be joined by Taylor Swift.
2007
Kenny Chesney
Brad Paisley
Rascal Flatts
George Strait
Keith Urban
Chesney entered the elite company of Garth Brooks, Alabama, and Alan Jackson with his third victory in this category. Rascal Flatts, meanwhile, became the first group since the Dixie Chicks to score back-to-back nominations, a feat also accomplished by Alabama and the Oak Ridge Boys.
2008
Kenny Chesney
Brad Paisley
George Strait
Sugarland
Keith Urban
As Sugarland became only the third duo in history to receive a nomination and George Strait extended his record number of nominations to sixteen, Kenny Chesney tied Garth Brooks for the most wins in this category with his fourth victory. His popularity at radio and retail was remarkable, but it was Chesney’s highly attended summer stadium tours that earned him these wins.
2009
Kenny Chesney
Brad Paisley
George Strait
Taylor Swift
Keith Urban
Taylor Swift both made history and prevented it with her win in this category. She simultaneously became the youngest artist ever and the first female solo artist in ten years to take home the prize. She also kept Kenny Chesney from becoming the sole all-time champion in this category, as he remains tied with Garth Brooks with four wins to date.
2010
Lady Antebellum
Miranda Lambert
Brad Paisley
Keith Urban
Zac Brown Band
2010 shook up the category, with three first-time contenders in the running for the crown for the first time since 1981. Despite all the new blood, sixth time proved to be the charm for Brad Paisley, who finally won this award after five consecutive losses. Paisley’s persistent popularity helped him earn the nod in a year where the two previous winners weren’t even nominated.
2011
Jason Aldean
Brad Paisley
Blake Shelton
Taylor Swift
Keith Urban
Thirty years after Barbara Mandrell became the first woman to win this award twice, Swift became the second to do so. She won the award on the strength of her third set, Speak Now, which showcased her growing maturity as a songwriter and her growing appeal beyond her teenage and young adult fan base.
2012
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift
One of the most surprising wins in CMA history, few saw Blake Shelton’s victory coming. But it isn’t too surprising when you consider the number of artists who parlayed network television exposure into a win in this category. Perhaps in this new era of media saturation and minimal album sales, television may once again become a deciding factor when choosing the genre’s top star every year.
2013
Jason Aldean
Luke Bryan
Blake Shelton
George Strait
Taylor Swift
George Strait’s farewell tour helped return him to the category for the first time since 2009, earning him a record-extending eighteenth career nomination. Strait joins previous winners Taylor Swift (2009, 2011) and Blake Shelton (2012) in attempting a return to the winner’s circle. Luke Bryan earns his first nomination, just months after winning the ACM trophy. Jason Aldean, meanwhile, is hoping to get lucky the third time around.
Facts & Feats
Multiple Wins:
(4) – Garth Brooks, Kenny Chesney
(3) – Alabama, Alan Jackson
(2) –Vince Gill, Barbara Mandrell, George Strait, Taylor Swift, Hank Williams, Jr.
(2) – Garth Brooks (1991-1992, 1997-1998), Vince Gill (1993-1994), Barbara Mandrell (1980-1981), George Strait (1989-1990), Hank Williams, Jr. (1987-1988)
Most Nominations:
(18) – George Strait
(12) – Alan Jackson
(11) – Brooks & Dunn
(10) – Reba McEntire
(9) - Garth Brooks, Kenny Chesney
(8) - Vince Gill, Merle Haggard, Brad Paisley
(7) – Keith Urban
(6) – Barbara Mandrell, Tim McGraw, Willie Nelson, Brad Paisley, Charley Pride, Keith Urban
(5) – Alabama, Loretta Lynn, Ronnie Milsap, Kenny Rogers
Most Nominations Without a Win:
(5) – Kenny Rogers
(4) – Toby Keith, Randy Travis
(3) – Jason Aldean, Waylon Jennings, The Judds, Oak Ridge Boys
Winners in First Year of Nomination:
Eddy Arnold (1967), Garth Brooks (1991), Glen Campbell (1968), John Denver (1975), Charlie Rich (1974), Taylor Swift (2009), Mel Tillis (1976), Shania Twain (1999), Keith Urban (2004), Hank Williams, Jr. (1987)
CMA Entertainers of the Year Who Have Never Won the ACM Award:
Eddy Arnold, Johnny Cash, Glen Campbell, Roy Clark, John Denver, Vince Gill, Alan Jackson, Tim McGraw, Ronnie Milsap, Brad Paisley, Charlie Rich, Blake Shelton, Ricky Skaggs, Taylor Swift, Mel Tillis, Keith Urban
ACM Entertainers of the Year Who Have Never Won the CMA Award:
Luke Bryan, Mac Davis, Mickey Gilley, Freddie Hart, Toby Keith, Kenny Rogers, Carrie Underwood
They’re as hope-dangling and ridiculous as they’ve ever been, those Country Music Association voters, and the CU staff has picked and predicted their 2013 awards below. Let us know what you think, and check back for our live blog on Wednesday at 7 p.m. CST!
Entertainer of the Year
Should Win:
Jason Aldean
Luke Bryan
Blake Shelton
George Strait
Taylor Swift
Will Win:
Jason Aldean
Luke Bryan
Blake Shelton – Dan, Ben, Jonathan, Tara, Kevin
George Strait
Taylor Swift
Dan: Sadly, it’s become hard to care about the night’s biggest prize. Swift and Strait are the two I can stomach right now, and neither of them actually had much to do with the country scene this past year—the former because she was flexing her pop muscles, the latter because he’s winding down.
Ben: I want to care, but I really don’t. There’s only one artist whom I could have supported unequivocally, and she didn’t get a nomination.
Jonathan: The CMAs have a tendency to lag a few years behind peak commercial trends, so I think Bryan will have to wait another year or two before he takes this award. While Bryan, Aldean, and Shelton could split votes among the bro contingent (presumably, to the benefit of Strait), I think Shelton’s visibility will be enough to earn him another win here.
Tara: This was Carrie Underwood’s year. I’m angry, unsurprised and completely apathetic about the rest of these contenders.
Kevin: Shelton won last year and if anything, his star has only shone brighter this year. That being said, if I was a CMA voter, I’d leave this category blank. Carrie Underwood was this year’s Entertainer of the Year.
Male Vocalist of the Year
Should Win:
Jason Aldean
Luke Bryan – Kevin
Eric Church – Ben, Jonathan, Tara, Dan
Blake Shelton
Keith Urban
Will Win:
Jason Aldean
Luke Bryan - Dan, Ben, Jonathan, Tara
Eric Church
Blake Shelton – Kevin
Keith Urban
Dan: Again, pretty indifferent here.
Ben: Church was between albums this year, but he’s the one whom I feel has represented country music the best. With Urban being past his commercial peak, I’m going to give the edge to Luke Bryan for his current red-hot momentum, but I honestly couldn’t care less which of the three dudebros gets it.
Jonathan: I’d replace four-fifths of this lineup with Gary Allan, Dierks Bentley, Darius Rucker, and Chris Young. If Bryan won’t win Entertainer of the Year, this will be his consolation prize.
Tara: I feel a little guilty rewarding Church’s residual awesomeness from Chief over Aldean’s admittedly solid year, but I’m still one redeeming single away from getting over “She’s Country.” Like Jonathan said, though, I think this is where the voters will reward Bryan.
Kevin: I’d give it to Bryan simply because he’s had a good year and has a good voice. Another Shelton win seems inevitable to me.
Female Vocalist of the Year
Should Win:
Kelly Clarkson
Miranda Lambert
Kacey Musgraves
Taylor Swift
Carrie Underwood – Dan, Ben, Jonathan, Tara, Kevin
Will Win:
Kelly Clarkson
Miranda Lambert – Dan, Ben, Jonathan, Kevin
Kacey Musgraves – Tara
Taylor Swift
Carrie Underwood
Dan: Who knows? Voters could give Lambert a record-tying (with Reba McEntire) four-peat, or maybe give Underwood her fourth trophy instead, or maybe give Swift a second one just to be zany, or dismiss the stats entirely and make a surprise investment in Musgraves. I can imagine any of those scenarios playing out.
Ben: I’ll probably be 100% Team Kacey at next year’s ACMs, but right now I want to see Underwood recognized for her incredible Blown Away era. As Dan noted above, this category is difficult to predict this year. I’m going to play it safe and bet on Lambert, but Kelly Clarkson is the only one without a shot.
Jonathan: Since there are far stronger albums than Blown Away in contention for Album of the Year, this is where I’d prefer to see Underwood recognized for the artistic gains she’s made during her current era. Lambert basically told voters to do just that during her acceptance speech for Female Vocalist of the Year during the ACMs a few months back, but it seems doubtful that they will. She seems poised to repeat, even though she’s coming off the most poorly received and lowest selling run of her career. Based on the quality of what was released during the eligibility period, I would have preferred to see Brandy Clark, Ashley Monroe, Kellie Pickler, and LeAnn Rimes squaring off against Underwood.
Tara: Just going out on a limb here with Musgraves; it feels like this category is due for a change. Or maybe that change will be a throwback to Underwood? One can hope.
Kevin: I think Lambert will win out of force of habit, with bonus votes for having the good taste to cover Musgraves and Clark before they both became breakout artists this year. Underwood made the best music and, as always, sang it better than the rest.
Vocal Group of the Year
Should Win:
The Band Perry
Eli Young Band
Lady Antebellum
Little Big Town – Ben, Jonathan, Tara
Zac Brown Band – Dan, Kevin
Will Win:
The Band Perry – Kevin
Eli Young Band
Lady Antebellum
Little Big Town – Dan, Ben, Jonathan, Tara
Zac Brown Band
Dan: I suppose that Little Big Town will repeat—but with “Your Side of the Bed” having doused their white-hot momentum, it’s hard to say for sure. Perhaps voters will finally throw Zac Brown Band the bone, if Brown’s Luke Bryan comments didn’t ruffle too many feathers. [Update: And ditto what Kevin says below.]
Ben: Little Big Town may have lost some steam with “Your Side of the Bed,” but they’re still going into the ring with a platinum album and two big hit singles, and they’re one of the only groups with multiple nominations this year. The trophy is theirs to lose.
Jonathan: Had The Band Perry scored more across-the-board support, I’d say they might have been able to pull off the upset here, but this remains Little Big Town’s to lose. Hopefully, a repeat victory will lend “Sober,” one of the year’s finest singles and arguably a new career-best for LBT, greater momentum at radio.
Tara: Cheers to that, Jonathan. Agreed.
Kevin: The Band Perry had a new album this year that was well-received. My personal pick is Zac Brown Band, only because I want last year’s Little Big Town win to start a new era in this category of acknowledging the overdue. Having the Dixie Chicks rack up four wins in five years is one thing. Rascal Flatts and Lady Antebellum dominating in the same way robbed the award of its luster. Last year, it got a little back. Let’s keep it going.
Vocal Duo of the Year
Should Win:
Big & Rich
The Civil Wars – Dan, Ben, Jonathan, Tara, Kevin
Florida Georgia Line
Love and Theft
Sugarland
Thompson Square
Will Win:
Big & Rich
The Civil Wars
Florida Georgia Line – Dan, Ben, Jonathan, Tara, Kevin
Love and Theft
Sugarland
Thompson Square
Dan: After years of sluggish Sugarland and shruggish Thompson Square, at least this year’s winning duo will have clear commercial heft behind them. Too bad I’m talking about Florida Georgia Line and not the also-quite-successful Civil Wars.
Ben: Whatever.
Jonathan: Same as it ever was: This category is years overdue to merge with Vocal Group. And the nomination for Sugarland is absurd.
Tara: I can’t decide what’s more amusing: Sugarland’s nomination or Florida Georgia Line’s inevitable win. (Although it does kind of feel like Sugarland is still haunting country radio with that new Band Perry single, no?)
Kevin: The Civil Wars. I swear they’re only nominating them so we can feel extra bad when they lose to Florida Georgia Line. (See: Rascal Flatts over Alison Krauss & Union Station, Martina McBride over Dolly Parton and Patty Loveless…)
New Artist of the Year
Should Win:
Lee Brice
Brett Eldredge
Florida Georgia Line
Kacey Musgraves – Dan, Ben, Jonathan, Tara, Kevin
Kip Moore
Will Win:
Lee Brice
Brett Eldredge
Florida Georgia Line – Dan, Ben
Kacey Musgraves – Jonathan, Tara, Kevin
Kip Moore
Dan: Musgraves is class valedictorian, and Moore’s a solid B+ student, but expect the boys of Florida Georgia Line to cruise in on baseball scholarship and come out on top.
Ben: Musgraves has a chance, but I don’t know if her critical clout will be enough to compete with the “Cruise” phenomenon.
Jonathan: That Musgraves is the night’s leading nominee gives me hope that she can overcome Florida Georgia Line’s commercial heft. That she had the balls to push “Follow Your Arrow” as a proper single puts me firmly in her corner.
Tara: Moore is my personal favorite here, but Musgraves outclasses them all. I’ll throw my optimism in with Jonathan and Kevin.
Kevin: This is a defining moment for the CMA’s. Musgraves will help restore their credibility. Florida Georgia Line will destroy what’s left of it. FWIW, Ricky Skaggs beat Lee Greenwood and Mark Chesnutt beat John Michael Montgomery. Then again, Rascal Flatts beat Nickel Creek and Terri Gibbs beat Rosanne Cash…
Album of the Year
Should Win:
Little Big Town, Tornado – Jonathan
Kacey Musgraves, Same Trailer Different Park – Dan, Ben
Blake Shelton, Based On a True Story…
Taylor Swift, Red
Carrie Underwood, Blown Away – Tara, Kevin
Will Win:
Little Big Town, Tornado – Ben, Tara
Kacey Musgraves, Same Trailer Different Park – Jonathan
Blake Shelton, Based On a True Story… – Dan
Taylor Swift, Red
Carrie Underwood, Blown Away – Kevin
Dan: Tough call. In recent years, the CMA has coalesced around the album with the most “story” value, whether that story was total domination (Fearless, My Kinda Party) or a respected artist finally hitting pay dirt (Revolution, Chief). Tornado seems like a fit for that second grouping, except that Little Big Town’s pay dirt was already last year. So the field seems open.
Ben: Of the four albums that have any real business being nominated for country awards, I consider the Musgraves set to be the strongest, but my gut says that it’s going to come down to either Shelton or Little Big Town. I’m going to be optimistic and predict an LBT victory.
Jonathan: I’m not nearly as bullish on Musgraves’ album as many others are, but it seems like this is safest place for voters to recognize her distinctive, critically acclaimed work. Tornado is my pick for the most consistently excellent set of this line-up; Red hits some glorious highs, but it’s also wildly uneven and has little business being recognized as a country album.
Tara:Tornado has some really fantastic production, and Blown Away is a stand-out showcase of Underwood’s interpretive abilities. Personal investment puts me in Underwood’s camp, but based on momentum and the fact that Musgraves is new, I think Little Big Town will take this.
Kevin: Musgraves has the most critical support, but Underwood made a much better album, in my opinion. I’m going out on a limb here and saying Underwood will win. My logic is that she had an incredible year and this is the best category to acknowledge that in. Also, a debut album has never won this award. There’s always a first time, but Musgraves has a lot of history up against her here.
Single of the Year
Should Win:
Florida Georgia Line, “Cruise”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Miranda Lambert, “Mama’s Broken Heart” – Jonathan, Tara, Kevin
Kacey Musgraves, “Merry Go ‘Round” – Dan, Ben
Darius Rucker, “Wagon Wheel”
Will Win:
Florida Georgia Line, “Cruise” – Dan, Jonathan, Ben
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Miranda Lambert, “Mama’s Broken Heart”
Kacey Musgraves, “Merry Go ‘Round”
Darius Rucker, “Wagon Wheel” – Tara, Kevin
Dan: “Cruise” is the behemoth here, and behemoths tend to win Single.
Ben: Dan said it.
Jonathan: I’d like to think that a record-setting run atop Billboard’s ridiculous mongrel chart would be its own reward, but it probably won’t be.
Kevin: There have been some goofy winners in the past. “Elvira.” “Achy Breaky Heart.” “Bop.” But there aren’t any in the recent past. I think that “Wagon Wheel” allows the CMA to pick a big mainstream hit that has a bit of alt-country cred, should they decide against a Musgraves sweep.
Tara: I agree with Kevin that “Wagon Wheel” seems like a nice compromise for the voters. I’d be cool with any of the latter three winning, but to me, “Mama’s Broken Heart” has the most momentum from start to finish.
Song of the Year
Should Win:
“I Drive Your Truck” (Lee Brice) - Jessi Alexander, Connie Harrington and Jimmy Yeary
“Mama’s Broken Heart” (Miranda Lambert) – Brandy Clark, Shane McAnally and Kacey Musgraves – Kevin
“Merry Go ‘Round” (Kacey Musgraves) – Kacey Musgraves, Shane McAnally and Josh Osborne – Dan, Ben, Tara
“Pontoon” (Little Big Town) - Barry Dean, Natalie Hemby and Luke Laird
“Wagon Wheel” (Darius Rucker) - Bob Dylan and Ketch Secor – Dan, Jonathan
Will Win:
“I Drive Your Truck” (Lee Brice) - Jessi Alexander, Connie Harrington and Jimmy Yeary - Dan, Jonathan
“Merry Go ‘Round” (Kacey Musgraves) – Kacey Musgraves, Shane McAnally and Josh Osborne – Ben, Tara, Kevin
“Pontoon” (Little Big Town) - Barry Dean, Natalie Hemby and Luke Laird
“Wagon Wheel” (Darius Rucker) - Bob Dylan and Ketch Secor
Dan: “Wagon Wheel” is a proven standard, but voters will probably want to go with something newer, and I guess I do, too. There’s a decent chance that Musgraves will get acknowledged here with “Merry Go ‘Round,” but with two co-writes in the pool, her danger is vote-splitting—and if that does happen, I defer to Jonathan’s logic below. Plus, frankly, CMA voters love songs about deceased loved ones.
Ben: It’s definitely possible that vote-splitting may be turn out to be Musgraves’ undoing in this category, but my guess is that “Merry Go ‘Round” will ultimately overshadow “Mama’s Broken Heart,” and that this will be where she gets her trip to the podium.
Jonathan: I’m all-in for the idea of recognizing brilliant songs that should have been hits a decade ago. Next year, can we get Drive-By Truckers’ “Outfit” or Neko Case’s “Deep Red Bells,” please? This year, I just can’t see the CMA giving an award to Bob Dylan, and, as much as I’d love to see Brandy Clark win, I think the Musgraves co-writes will split votes. Which leaves a frivolous holdover from last year to face off against the only “truck” song in years that’s worth even half a damn. I think the latter pulls off the night’s only real upset.
Tara: Lots of solid choices here; even “Pontoon” has a melody worth respecting. “Merry Go ‘Round” just edges out “Mama’s Broken Heart” for me, but I think the voters will be more pointed with their choice and reward Musgraves for her breakout song.
Kevin: “Merry Go ‘Round” fits in well with previous female writer wins. Distinct point of view, attention to details, and some quiet feminist commentary. My pick is “Mama’s Broken Heart”, which I think is just brilliant. “Line your lips and keep them closed.” Wow.
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Miranda Lambert, “Mama’s Broken Heart”
Little Big Town, “Tornado”
Dan: The Underwood clip was made to win this award, but I find it silly. Why does she have lie around all sexily on that bed in the tornado shelter?
Ben: Little Big Town’s “Tornado” is also a worthy contender, but Underwood’s “Blown Away” video is an absolute tour de force.
Jonathan: The idea that this could be how the Pistol Annies win a CMA award just makes my teeth hurt. As big a fan of hers as I may be, Miranda’s mugging in the video for “Mama’s Broken Heart” makes her laughable acting gig on Law & Order: Perverts Unit seem measured and subtle by comparison.
Kevin: Because why shouldn’t there be two winners in this category that give homage to Oz?
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care” – Jonathan, Ben, Dan, Kevin, Tara
Jason Aldean with Luke Bryan and Eric Church, “The Only Way I Know”
Ben: Clarkson and Gill made the best record of the lot, but it doesn’t have the commercial muscle to pull off a victory, so I’m giving the edge to McGraw and Company.
Jonathan: Cosigning Ben’s comment, word for word.
Dan: “Highway Don’t Care” is kinda weird and meh, but it’s not “Boys ‘Round Here” and “The Only Way I Know”. For this, I am grateful.
Tara: I swear I’m not throwing this to Clarkson and Gill just because they’re Clarkson and Gill – I can stomach not one of these other songs. Part of me thinks Aldean and co. might take this, but McGraw and co. seems more likely.
Kevin: “Highway Don’t Care” made me enjoy both McGraw and Swift as singers, not just song pickers/songwriters. For that alone, the win.
Musician of the Year
Should Win:
Sam Bush (Mandolin) – Jonathan, Ben
Paul Franklin (Steel Guitar) – Kevin
Dann Huff (Guitar)
Brent Mason (Guitar)
Mac McAnally (Guitar)
Will Win:
Sam Bush (Mandolin)
Paul Franklin (Steel Guitar) – Jonathan, Ben, Kevin
Dann Huff (Guitar)
Brent Mason (Guitar)
Mac McAnally (Guitar)
Ben: I’ll be all for Paul Franklin next year thanks to Bakersfield, but this year I would like to see Sam Bush get his due.
Jonathan: Bush may not have a MacArthur fellowship like Chris Thile, but his progressive mandolin work is certainly overdue for recognition. Hard to begrudge Franklin, though, as Bakersfield is one of the year’s best albums.
Kevin: Until he wins. I will pick him until he wins.
Being a great songwriter can be just as much about being distinctive and unique as it is about writing great songs. Being a great songwriter that records her own material requires not getting in the way of your own song.
“Red” isn’t necessarily a great song, but it is a song that could only be written by Taylor Swift. It has a lot of lines that would be awkward on their own but somehow make sense when thrown together. She makes fairly benign observations throughout, but they gather meaning as she goes along. Her writer’s voice is so authoritative that she can compare a lover’s quarrel to a difficult crossword puzzle, with the punchline being that “there’s no right answer”, and it sounds like such an obvious metaphor that you’re surprised no one thought of it before.
I really do like the song, and I think that I’d put in heavy rotation if it wasn’t for the bewildering echo effect on the title word when it ends the chorus. I’m totally baffled. I happen to like a lot of electronic music, and the effect itself is somewhat interesting, if not particularly compelling. It feels like a gimmicky flourish that you’d use to cover up the weakness of a song, rather than undermining the strength of a very good one.
I’ve been around enough to know the difference between a sound that’s progressive and forward-thinking, and one that’s a novelty that will soon be dated. “Red” as a record would hold up a bit better over time if the song had been allowed to stand on its own.
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