Lately, I’ve been playing “Deep Down” on a loop, and it got me thinking…
What if one of the big female artists of 2011 were the first to release this song?
If Carrie Underwood recorded it in 2011, the song would be praised as one of the best she’s ever recorded, but she’d be criticized for over-singing and over-producing it.
If Taylor Swift recorded it in 2011, the song would be praised as one of the best she’s ever recorded, but she’d be criticized for missing every other note, even with the help of auto-tune.
If Miranda Lambert recorded it in 2011, the song would be praised as one of the best she’s ever recorded, and further evidence that she’s the messiah of contemporary country music, regardless of how she sang or produced it.
But alas, Pam Tillis recorded it in 1995, and the song went largely unnoticed, because a great song with a great vocal performance and a great production was expected, not special, coming from her.
Perhaps the best way to listen to country music in 2011 is not to listen to anything else in the genre’s history. That way the illusion that there is some great contemporary country music out there can be preserved.
It’s that time of year again! The time when we all dutifully tune in to the CMA Awards show, raise our eyebrows at the “What the heck are they doing here?” award presenters, and afterwards complain about how totally un-country the whole show was. I don’t know about the rest of you, but I can’t wait.
We’re pleased to share the Country Universe staff picks for this year’s CMA Awards, as well as our predictions of who the winners will be. This year we have some highly competitive categories in which predicting the winners is quite difficult, leading to some significantly divergent picks among our writing staff. Agree? Disagree? Join in the discussion in the comment thread below, and let us know.
The CMA Awards telecast will air on Wednesday, November 9, 8pm Eastern on ABC-TV. We will be live blogging the show here at Country Universe, so do be sure to drop by and join in the fun!
Entertainer of the Year
Should Win:
Jason Aldean – Kevin
Brad Paisley
Blake Shelton
Taylor Swift - Dan, Ben, Leeann, Jonathan, Tara
Keith Urban
Will Win:
Jason Aldean
Brad Paisley
Blake Shelton - Dan, Leeann, Jonathan
Taylor Swift – Ben, Kevin, Tara
Keith Urban
Dan: I can imagine anyone but Urban taking it, but I like Jonathan’s logic.
Ben: It’s hard to bet on the Entertainer award going to a female artist, but it seems Swift has undoubtedly had the biggest year of all the nominees. Her album sold like hotcakes, and produced a trio of killer radio singles, while she topped that off with her Speak Now tour. That combination should bag her this year’s top prize.
Leeann: Paisley could take it again, but my money’s on the CMA wanting to give it to fresh blood this year. Taylor Swift is who probably actually deserves it, however.
Jonathan: Paisley is probably the most logical pick, but he didn’t figure as heavily into the nominations this year as he could have, so I’m wondering if the voters have cooled on him as much as the crew here at CU have of late. Swift’s live show should be a factor in this category, but she has a whole lot of gender bias to overcome, and there seems to be at least something of a backlash against her in the country community post-Fearless. Which leaves the ubiquitous Shelton, who has been something of a new “Everywhere Man” for the genre over the past year.
Kevin: I think Swift will win because she had the highest profile year. But I think Aldean defines the genre in 2011, for better or for worse. Mostly worse.
Tara: As I’ve said before, this is the most appropriate way for the voters to reward Swift’s monster success, and for the first time at the CMAs, I truly feel she deserves this award. I’m particularly impressed with the way she continues to cultivate her relationship with her fans. I just hope the voters don’t pair this award with the FVOTY award.
Male Vocalist of the Year
Should Win:
Jason Aldean - Dan, Ben
Kenny Chesney
Brad Paisley
Blake Shelton
Keith Urban - Leeann, Jonathan, Kevin, Tara
Will Win:
Jason Aldean – Dan, Ben
Kenny Chesney
Brad Paisley
Blake Shelton - Leeann, Jonathan, Kevin, Tara
Keith Urban
Dan: Aldean’s not my thing, but he’s the biggest guy in the field by an unignorable margin. More than anything, I think the indie Broken Bow Records deserves props for building their flagship artist so well.
Ben: I’m largely indifferent to this particular field of nominees (save possibly Keith Urban), but Aldean’s massive success should most likely nab him his first Male Vocalist trophy.
Leeann: Again, I think it’s Shelton’s night to sweep in order to shake things up this year. He and Urban have the strongest voices in the category anyway.
Jonathan: Urban’s the only one of the lot who has released even one single I’ve liked in the past year, so he’d get my vote. Aldean has the commercial clout, sure, but quality has to count for something, right? Voters have looked at the word “Vocalist” in the category name and have passed over Chesney for years, and I wonder if they’ll do the same to Aldean here. I’m thinking yes.
Kevin: Urban’s the one who I can stand to listen to. But if Shelton was able to win last year, I don’t see how he loses this year. Not post-Voice and “Honey Bee.”
Tara: It makes me sad that I can’t find a solid reason to support Urban or Paisley, both of whom I used to feel passionately about. And in all honesty, I can’t find a solid reason to support any of these guys, based on their output during the eligibility period. I’m going to blindly back Urban –who, despite being “Urban-lite” these days, is at least consistent– and predict that Shelton’s amped public profile will give him the edge with voters.
Female Vocalist of the Year
Should Win:
Sara Evans – Kevin
Miranda Lambert
Martina McBride
Taylor Swift – Dan, Ben, Leeann, Jonathan
Carrie Underwood – Tara
Will Win:
Sara Evans
Miranda Lambert – Dan, Leeann, Jonathan, Kevin, Tara
Martina McBride
Taylor Swift - Ben
Carrie Underwood
Dan: Come ACM season, I’ll be all for Lambert; Pistol Annies and Four The Record prove she’s using her new commercial powers nobly. But I like Swift’s performances on Speak Now, and that album just applies more to this awards cycle.
Ben: Swift is the overall strongest contender, but I could see voters seizing the opportunity to recognize Evans, who released a new album and had a number one single during the eligibility period. I wouldn’t rule Lambert out either, though she didn’t have as strong a year as she did in 2010. But I doubt this will be Underwood’s year, and McBride’s was essentially a filler nomination, so I’d say it’s down to Swift, Evans, and Lambert. (But, like Dan, I will totally be Team Miranda when the ACMs roll around)
Leeann: I reflexively say Lambert should win, but Swift has had the best year and will likely win as a result. I won’t be heart broken if Lambert takes it though.
Jonathan: There’s a part of me that would vote for Lambert on principle and out of loyalty, but I can’t argue with a simple mathematical inequality: “Back to December,” “Mean,” and “Sparks Fly” > “Only Prettier,” “Heart Like Mine” and “Baggage Claim.” Had her label been campaigning harder that she’s never won this award, Evans could’ve been a bigger threat here, but Lambert’s ongoing momentum should carry her to a repeat win.
Kevin: Can this power couple nonsense be derailed? Probably not, so while I’d rather see Swift get it over Lambert, I’m doubtful it would happen. My real fantasy would be for the only non-winner, Sara Evans, to take it. For prosperity’s sake, and for actually putting out a great single that I failed to realize was great until it was already a hit.
Tara: This is a tough one for me. Lambert’s worked the genre like no other female has this past year and a half, but the singles she’s released in the eligibility period have been so-so. Swift’s put out some solid material, but I’m not sure I’ll ever be able to support her winning a vocalist award. And then there’s Underwood, who’s been relatively quiet on the radio front, but whose stunning performance of “How Great Thou Art” back in April went viral and serves as a reminder of what I firmly believe is one of the finest voices in the genre. I’m going with my gut and backing Underwood, but I think the voters will reward Lambert again, which is fine with me.
Vocal Duo of the Year
Should Win:
The Civil Wars – Dan, Ben, Leeann, Jonathan, Kevin, Tara
Montgomery Gentry
Steel Magnolia
Sugarland
Thompson Square
Will Win:
The Civil Wars
Montgomery Gentry
Steel Magnolia
Sugarland - Dan, Ben, Leeann, Jonathan, Kevin, Tara
Thompson Square
Dan: Seriously, why not the Civil Wars? They’ve sold about as many albums (200,000-ish) as everyone besides Sugarland without the support of a major label. Not to mention they just made the most interesting music.
Ben: I’m supporting the Civil Wars on principle, but it’s a no-brainer that Sugarland’s hot streak is not over yet.
Leeann: I love The Civil Wars. The end.
Jonathan: Yet more evidence that this category should be merged with Vocal Group of the Year to cut the deadweight. Though the Civil Wars getting in instead of the JaneDear Girls is a nice testament to the fact that the CMAs, every so often, can exercise good taste and discretion.
Kevin: Sugarland’s album was atrocious. The Civil Wars are in the running for my favorite set of the year. Easy call for me.
Tara: Can Sugarland hurry up and release a new, redeeming album, please?
Vocal Group of the Year
Should Win:
The Band Perry
Lady Antebellum
Little Big Town
Rascal Flatts
Zac Brown Band – Dan, Ben, Leeann, Jonathan, Kevin, Tara
Will Win:
The Band Perry
Lady Antebellum – Tara
Little Big Town
Rascal Flatts
Zac Brown Band - Dan, Ben, Leeann, Jonathan, Kevin
Dan: Lady A were between albums. Some variety this year, please.
Ben: It’ hard to bet against Lady Antebellum, but the Zac Brown band gave us a strong album and two of the year’s most memorable hit singles (“As She’s Walking Away” and “Colder Weather”), and I predict that they will be rewarded justly.
Leeann: Zac Brown Band has a good chance with the best music in the category, but Lady A just might not be out yet.
Jonathan: Little Big Town’s brilliant “Little White Church” should’ve put them back in the mix for good, but they really botched the single releases from their album and are right back to being also-rans. The Band Perry will settle for the “New Artist” award as a consolation prize this year, which leaves Lady A and Zac Brown Band to duke it out. In terms of the quality of their output, Zac Brown Band has Lady A dead to rights, but is that enough to stop the trio’s awards-show juggernaut? Let’s hope so.
Kevin: Zac Brown Band is the only option both realistic and palatable.
Tara: This is the first of these categories that I feel strongly about this year. Based on the strength of You Get What You Give, Zac Brown Band deserves to nab this award, hands down. But I’ll go against my co-bloggers here and guess that Lady Antebellum still has the industry wrapped around its finger.
New Artist of the Year
Should Win:
The Band Perry - Ben
Luke Bryan
Eric Church - Leeann, Jonathan
Thompson Square
Chris Young – Dan, Kevin, Tara
Will Win:
The Band Perry – Ben, Jonathan, Tara
Luke Bryan
Eric Church – Dan, Leeann, Kevin
Thompson Square
Chris Young
Dan: Church seems the most likely to have a long, interesting career and probably deserves the win. I just don’t want to encourage “Homeboy,” I guess.
Ben: Thompson Square and The Band Perry are the only two nominees whom I would still consider “new” artists, and I think The Band Perry beats Thompson Square any day. Bryan, however, did reach a new level of stardom over the past year, so he stands a good chance at wining nonetheless.
Leeann: While it’s strange that with three albums Church is still in the New Artist category, it’s probably that same reason that he should win the award, not to mention that he had the strongest album of the nominees in the past year.
Jonathan: Young’s the best singer in the field, but his material is still too inconsistent in quality for me to get on board with him. Church, on the other hand, finally made good on his early promise and his considerable hype with Chief and would be a deserving winner, as would the uneven but still pretty good The Band Perry. As the only nominee with any other nominations, they have to be considered the slight favorites over Crest WhiteStrips.
Kevin: I think Church’s big breakthrough happened close enough to the voting window to give him a slight edge. I’d like to see Chris Young get the boost from a win.
Tara: Of all the nominees, I’m the most excited for Chris Young’s future in country music – his vocal talent is tremendous, and even though it falls right outside of the eligibility period, Neon is one of my favorite releases of this year. Based on their other major nominations, though, I think The Band Perry will take this.
Album of the Year
Should Win:
Blake Shelton, All About Tonight
Jason Aldean, My Kinda Party
Taylor Swift, Speak Now- Ben, Kevin
Brad Paisley, This Is Country Music
Zac Brown Band, You Get What You Give- Dan, Leeann, Jonathan, Tara
Will Win:
Blake Shelton, All About Tonight
Jason Aldean, My Kinda Party – Dan, Leeann, Jonathan, Tara
Taylor Swift, Speak Now – Ben, Kevin
Brad Paisley, This Is Country Music
Zac Brown Band, You Get What You Give
Dan: Here’s a logical place to acknowledge Aldean, though I hope voters think twice about it.
Ben: In my book, Swift and the Zac Brown Band are the only truly worthy winners (and I’m still scratching my head over why a Blake Shelton “Six Pak” was even nominated in the first place). To me, the most intriguing thing about Swift is that she really does seem to get a little better and a little deeper with each album. Speak Now is her crowning achievement to date, and in my opinion, the best album on this ballot.
Leeann: It hurts my heart to think it, but Jason Aldean’s big year will likely earn him the award for best album, even though numbers isn’t how such an award should be selected.
Jonathan: Speak Now is Swift’s strongest album, but, “Mean” notwithstanding, it’s also her most unabashedly pop album. And song-for-song, I still think You Get What You Give is slightly better. But Aldean has been a steady seller, and he’s big enough that he has to win one of the major awards, and this one’s his best bet.
Kevin: “All songs composed by Taylor Swift” impressed the heck out of me, not the least of which because the songs were far better than her earlier work. Zac Brown Band’s a close second for me.
Tara: Speak Now is solid, but You Get What You Give is the better example of how to move this genre forward, with its delicious yet reverent mishmash of influences. But I think this is where the voters will recognize the often overlooked commercial success of Jason Aldean.
Single of the Year
Should Win:
Sara Evans, “A Little Bit Stronger”
Zac Brown Band, “Colder Weather”- Leeann, Tara
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Blake Shelton, “Honey Bee”
The Band Perry, “If I Die Young” – Dan, Ben, Jonathan, Kevin
Will Win:
Sara Evans, “A Little Bit Stronger”
Zac Brown Band, “Colder Weather”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” - Jonathan, Tara
Blake Shelton, “Honey Bee” - Kevin
The Band Perry, “If I Die Young” - Dan, Ben, Leeann
Dan: It’d be heartening to see The Band Perry’s risky, rootsy release get its due. Plus: the single alone is 3x Platinum, better than any of its competitors can claim.
Ben: “Colder Weather” and “If I Die Young” are the two strongest competitors, but for me, a cool folksy arrangement puts the latter over the edge.
Leeann: This is tough. I can actually see any of these singles winning, but I have a good feeling about “If I Die Young”, though I’d love to see “Colder Weather” prove me wrong.
Jonathan: This one’s actually a tough call, since all five of the singles are big radio hits and everyone here has multiple nominations. “If I Die Young” is the best-produced single of the lot, but I’m predicting that Kelly Clarkson’s endless likability gives the edge to her duet with Aldean.
Kevin: Love the Band Perry record most, followed by Sara Evans. But this is the CMA awards, and Shelton managed to be both completely vanilla and namedrop Conway Twitty and Loretta Lynn.
Tara: If I better understood the story in “If I Die Young,” I might be able to get behind it, but I think “Colder Weather” is the more memorable single. It’s my favorite kind of country ballad – killer vocals, gripping melody and palpable emotion. I see the fiery Aldean / Clarkson collaboration taking this one, though. (By the way, dude, “Honey Bee” – really CMA?)
“If I Die Young” – Kimberly Perry - Dan, Ben, Jonathan, Tara
“Mean” – Taylor Swift - Kevin
“You and Tequila” – Matraca Berg & Deana Carter – Leann
Dan: “If I Die Young” is a flawed composition, but it’s still the most striking and strange one here, and that’s worth something.
Ben: I never though I’d see a CMA Song of the Year field in which Matraca Berg and Deana Carter would compete against Colt Ford and Brantley Gilbert. I would so love to see Berg and Carter win the award. I might tend to be slightly biased when it comes to Matraca Berg, but I think “Tequila” is a fine composition on its own merits, and a worthy winner indeed. Still, my gut predicion is that Perry will grab the trophy instead.
Leeann: “Mean” is probably my favorite song in terms of production and melody, but “You and Tequila” is the best song of the nominees.
Jonathan: Berg is a treasure and I like Carter well enough, so it’s nice to see their names on the ballot again, but “You and Tequila” isn’t either of their best compositions. Here’s the thing about “Mean”: What doesn’t work about the song has everything to do with the fact that it shows the extent to which Swift still hasn’t fully figured out her artistic persona. But in terms of melody and overall construction as a stand-alone song? It’s the class of the field. As Dan said, “If I Die Young” is flawed, but it also has a lot going for it and will be a fine, worthy winner when it inevitably takes this.
Kevin: I love “You and Tequila”, but it’s an old song. I’m glad Chesney rediscovered it, but I can’t see it as this year’s Song of the Year. I think “Mean” is the best of the bunch, with the music as clever as the lyrics.
Tara: I’m with Jonathan and Leann re: “Mean” in that I agree its melody and overall construction are terrific; unfortunately its flaw –the bridge, which undermines the premise of the song– is too big for me to overlook. And as much as I love it, I don’t feel right backing “Colder Weather,” either, as it’s really Brown’s vocal performance that elevates the composition to a memorable song. So I’ll go with the quirky and unique “If I Die Young” and guess the voters will, too.
Musical Event of the Year
Should Win:
“As She’s Walking Away” – Zac Brown Band featuring Alan Jackson – Dan, Ben, Leeann, Jonathan, Kevin, Tara
“Don’t You Wanna Stay” – Jason Aldean with Kelly Clarkson – Dan, Ben, Leeann, Jonathan
“Old Alabama” – Brad Paisley with Alabama
“You and Tequila” – Kenny Chesney featuring Grace Potter
Dan: The Single nod for Jason and Kelly suggests they have the edge here. But my heart echoes a resounding “Go on, son.”
Ben: “As She’s Walking Away” is just so effortlessly charming that it would easily be my first pick, but the cross-genre appeal – and bonus Clarkson star power – of “Don’t You Wanna Stay” make it the most likely winner. The fact that “Don’t You Wanna Stay” is also nominated for Single (which “As She’s Walking Away” sadly isn’t) suggests a likely victory in this category.
Leeann: How can I not pull for the Zac Brown Band and Alan Jackson when I have a chance? I’m pretty confident that the drama, cross genre appeal, and, yup, the drama again, make “Don’t You Want to Stay” the sure bet though.
Jonathan: “As She’s Walking Away” is one of the purest and truest duets in years, and it could pull some votes from the more traditionalist voters, but the Aldean and Clarkson single just has too much firepower to lose here.
Kevin: If this doesn’t go to Zac Brown Band and Alan Jackson, then I no longer understand how CMA voters think.
Tara: No question here, “As She’s Walking Away” is head and shoulders above the rest of the collaborations in this category, one of the most quietly charming singles we’ve heard on country radio in quite some time. I’ll go out on a limb and predict that voters will have trouble ignoring the warm fuzzies they get when Jackson starts singing.
Music Video of the Year
Should Win:
Blake Shelton, “Honey Bee”
The Band Perry, “If I Die Young” – Dan
Taylor Swift, “Mean” – Ben, Kevin, Tara
Brad Paisley featuring Alabama, “Old Alabama”
Kenny Chesney featuring Grace Potter, “You and Tequila”
Kenny Chesney featuring Grace Potter, “You and Tequila”
Dan: It’s my least favorite Paisley video ever, though.
Ben: Swift’s “Mean” is my personal favorite among these nominees, but I’m expecting that voters will show some Shelton love instead.
Jonathan: Paisley has to win something, right? And this also gives the voters a chance to honor some beloved genre vets.
Kevin: I think the video splicing tricks will give Paisley and Alabama an additional edge. Of the five clips, “Mean” is the one I like the most.
Tara: I love the whimsical video for “Mean” but think (and actually kind of hope) the voters will use this category to award the show co-host and his buddies.
Musician of the Year
Should Win:
Paul Franklin (steel guitar) - Dan, Ben, Leeann, Jonathan, Kevin, Tara
Dann Huff (guitar)
Brent Mason (guitar)
Mac McAnally (guitar)
Randy Scruggs (guitar)
Will Win:
Paul Franklin (steel guitar) - Leeann, Jonathan
Dann Huff (guitar)
Brent Mason (guitar)
Mac McAnally (guitar) – Dan, Ben, Kevin, Tara
Randy Scruggs (guitar)
Dan: Default underdog support.
Ben: I would love to see this go to the steel guitar man (and preferably not to Dann Huff), but Mac McAnally tends to be the favorite here.
Leeann: I want the steel guitar to represent this year. So, I’ll will it to happen.
Jonathan: Franklin’s the only nominee who hasn’t won previously, and being regarded as long overdue eventually helped McAnally score his first win, leading to his current three-year hot streak.
Kevin: I’ll be rooting for Paul Franklin until he finally wins, but I won’t believe that he’ll win until he finally does.
Friday, May 5, 2006 – The Palace of Auburn Hills, Michigan. For Faith Hill, it was just another stop on her Soul2Soul II tour with her superstar husband Tim McGraw. For young 14-year-old Ben Foster, it was my very first live concert experience (or at least the first that did not entail bringing a picnic blanket), and it was one that I never forgot. I still have the ticket stub.
I became a Faith Hill fan at a young age, and I became an even bigger fan as I grew older. As I set about acquiring all six of her Warner Bros. studio albums, my admiration for this talented artist only grew. To one who knows Faith Hill only for crossover pop hits like “Breathe,” “This Kiss,” and “The Way You Love Me,” it might come as a bit of a surprise what a strong album artist she was. Besides that, she possessed genuine country sensibilities in addition to the pop diva persona that she became so well known for.
As I continue to eagerly await Faith Hill’s return with her seventh studio album, I’m thrilled to share my 25 personal favorites out of her eclectic catalog of tunes. Many of these songs were substantial hits, but I’ve also left off a few well-known singles in favor of some lesser-known hidden treasures. As always, please feel free to share your own favorites in the comments section.
#25
“The Way You Love Me”
Breathe, 1999
Now, don’t give me that look. We’re all entitled to a little guilty pleasure time, aren’t we? Look, I still don’t know what “If I could grant you one wish, I wish you could see the way you kiss” is supposed to mean, and I’m guessing you don’t either. But what I do know is that Faith Hill somehow managed to craft a ridiculously catchy piece of pop-country nonsense that had me hopelessly hooked ever since I first heard it over a decade ago. I couldn’t not love it if I tried.
#24
“Wild One”
Take Me As I Am, 1993
Faith’s 1993 debut single is an enjoyable and fitting introduction to a major talent. The lyrics portray a free-spirited teenage girl who, in addition to having a rebellious streak a mile wide, is a proactive go-getter who takes life as it comes. “Life is hard,” but she says “That’s all right.” It’s an effortlessly charming record, and yet at the same time, it almost seems like an hors d’oeuvre in comparison to the deep and insightful material Faith would tackle in the future.
#23
“Sleeping with the Telephone” (with Reba McEntire)
Reba McEntire – Reba Duets, 2007
With this fantastic collaboration from Reba’s 2007 duets project, Faith and Reba play the parts of two neighbors, each of whom is married to a man who risks his life on a daily basis. Their circumstances are different, with one husband being a soldier and the other being a police officer, but each wife copes with the same troubling feelings of deep worry and anxiety. But honestly, this track is a shoo-in just for the pure pleasure of hearing Hill and McEntire, two of country’s most dynamic vocal powerhouses, paired together – trading verses and blending their voices in harmony on the soaring chorus.
#22
“Let Me Let Go”
Faith, 1998
A brokenhearted woman tries to move on in the wake of a break-up, but is unable due to the unshakable feeling that they really were meant to be together. (“If this is for the best, why are you still in my heart, are you still in my soul?”)
#21
“Someone Else’s Dream”
It Matters to Me, 1995
The story of a young woman gradually discovering her own distinct identity, and discovering that her parents’ hopes and dreams will never be hers. When the song reaches its final bridge, the young woman has firmly made her decision: “She’s got twenty-seven candles on her cake, and she means to make her life her own before there’s twenty-eight.”
#20
“Love Ain’t Like That”
Faith, 1998
In a clever composition with some classic Matraca Berg lines, Faith debunks a series of mistaken ideas about what love is really about, while also underscoring the importance of commitment in a lasting relationship. Favorite lines: “You can’t buy it at the store, try it on for size, bring it back if it don’t feel right.… You can’t trade it in like an automobile that’s got too many miles and rust on the wheels.”
#19
“Let’s Go to Vegas”
It Matters to Me, 1995
The unshakable joyfulness of “Suds In the Bucket” meets the wide-eyed charm and innocence of “She’s In Love with the Boy.” From the light airy arrangement to Faith’s enthusiastic performance, “Let’s Go to Vegas” embodies all of the youthful romantic excitement found in that one little moment of “Hey, I just had a crazy thought…”
#18
“Lost”
The Hits, 2007
This one might have come across as an attempt to re-visit the power ballad euphoria of “Breathe,” which it might have been, but it carries an extra air of mystery that gives it a distinct identity separate from its predecessor, while the melody and performance make the song captivating on its own merits alone.
#17
“What’s In It for Me”
Breathe, 1999
On the kickoff track of Faith’s runaway success of an album, her performance sounds like the release of an eternity’s worth of pent-up fury. The aggressive country-rock production, combining awesome guitar work with some mighty fierce fiddling, added up to a record that sounded truly ferocious.
#16
“The Secret of Life”
Faith, 1998
In this philosophical number written by the ever-excellent Gretchen Peters, several men drinking in a bar ponder over the fabled “Secret of Life,” eventually concluding that “The Secret of Life is nothing at all.” Faith’s half-sung, half-spoken performance brought the conversational tone to life, taking a song that was hardly radio-friendly, and turning it into a Top 5 hit.
#15
“Cry”
Cry, 2002
A full-on pop power ballad in which Faith strikes the delicate balance of exercising her powerful pipes in a fiery delivery, while still retaining the emotional connectivity of a great country record. Her formidable vocal prowess is on full display, but even the biggest power notes are still colored with a deep emotional quiver.
#14
“Breathe”
Breathe, 1999
Faith Hill took the pop-country power ballad to new heights with this cross-genre career-defining hit.
Regardless of how overexposed the song might have been, it’s a memorable record for the way it combines physical attraction with the warmth and comfort found in true love, while also displaying the increased power and fullness that Faith’s voice had acquired over the years.
#13
“I Can’t Do That Anymore”
It Matters to Me, 1995
This Alan Jackson-penned ballad puts into song the frustration, exhaustion, and hurt of a sunken housewife worn down from constantly striving to please her unappreciative husband
#12
“I Need You” (with Tim McGraw)
Tim McGraw – Let It Go, 2007
Of all Faith’s collaborations with her famous husband, this is one of the best. This was only their second full-fledged duet single (with their first being “Let’s Make Love”). The restrained arrangement lends a deeply intimate romantic feel to the record, while both vocalists give killer performances. Tim McGraw digs deep into his lower register, while Faith’s soaring performance elevates the record to greatness. Never before or since had their chemistry been captured as effectively as it is here.
#11
“Dearly Beloved”
Fireflies, 2005
This track served as one of the lighter moments on the mature and compelling collection of songs found on Faith’s Fireflies album. The plucked-out, nearly-hillbillyish country-bluegrass arrangement sounds worlds removed from polished crossover number like “Breathe.” In a song ripe with clever and silly lines, Faith steps into the minister’s shoes at a backwoods white trash wedding. The flirt of a bride is three months late, and the groom is “checkin’ out the bridesmaids, thinkin’ that he might take the maid of honor’s honor.” Fittingly, Faith ices the cake with a closing line of “Y’all come back now, ya hear?”
#10
“A Man’s Home Is His Castle”
It Matters to Me, 1995
Listening to this song is like peeking in the windows of a home torn apart by domestic violence. “Castle” takes on an added level of realism in that it gives a voice to the battered woman, and even gives the couple names (Linda and Jim). The victimized woman is hurt, angry, and desperate, and every tortured emotion is conveyed in the lyrics, which make no attempt to tamper the song’s impact with a manufactured happy ending.
#9
“Take Me As I Am”
Take Me As I Am, 1993
Could it be? A love song that brings maturity and self-realization to the table without sacrificing the joy and
giddiness of newfound romance? Faith delivers exactly that with the title track to her debut album, which includes standout lines like “I’d trade a million pretty words for one touch that is real,” as well as romantic lines like “Baby, don’t turn out the light… I wanna see you look at me.”
#8
“Like We Never Loved At All”
Fireflies, 2005
A delicate piano intro with strains of steel set the tone for a beautiful ballad of a woman who struggles to move on after a breakup, while her pain in increased by the realization of how easily her former flame seems to have moved on. The song is bolstered by Tim McGraw’s harmony vocal, while memorable visual images (“There… walking with your friend, laughing at the moon… I swear you looked right through me”) bring the narrator’s pain down to a strikingly relatable level.
#7
“It Matters to Me”
It Matters to Me, 1995
An expression of hurt feelings that is all the more effective for its simplicity and straightforwardness: “When we don’t talk, when we don’t touch, when it doesn’t feel like we’re even in love… It matters to me.” How much more direct can you get?
#6
“When the Lights Go Down”
Cry, 2002
Faith’s 2002 set Cry was criticized by some for going in a straight-up adult pop direction. But the detractors often missed the fact that Cry is a fantastic pop album, which includes some of the best songs Faith Hill has ever recorded. Exhibit A is “When the Lights Go Down” – a stunning musical testament to the clarity and inescapability of ultimate truth, elevated by Faith’s showstopping vocal performance. The song takes on a tone of positivity as it highlights the fact that life’s most turbulent experiences afford us the opporunity to discover our own inner strength. Easily one of the finest tracks on the Cry album, it’s a shame it wasn’t fully embraced by radio.
#5
“You’re Still Here”
Cry, 2002
It’s hard to go wrong with a Matraca Berg/ Aimee Mayo song. In a similar vein to Trisha Yearwood’s “On a Bus to St. Cloud,” “You’re Still Here” is a tale of the love that’s long gone, most likely in death, but whom the narrator still sees in her dreams, in her baby’s eyes, and everywhere else. At one point she even says “I heard you in a stranger’s laugh, and I hung around to hear him laugh again, just once again.” It’s an achingly beautiful lyric, delivered in one of Faith’s finest and most emotionally-resonant performances on record, while the soft touches of oboe in the arrangement add layer of mystery to the track.
#4
“Wish for You”
Fireflies, 2005
A mother’s expression of all that she wishes for her child. It’s made even more touching by the fact that she never once makes the wish that everything in life will go perfectly for her child. Instead, she simply wishes that, when things do go wrong, her child will pick herself back up, move on, and be a better person because of it. That keeps the song from coming across as cheesy, instead deepening its emotional impact, and keeping it firmly grounded in real life.
#3
“If My Heart Had Wings”
Breathe, 1999
Sometimes it irritates me when certain female artists constantly feel the need to belt out their songs at the top of their lungs. In the case of “If My Heart Had Wings,” however, I can’t imagine the song being sung any other way. Begging to be blared at high volume in one’s car with the windows rolled, “If My Heart Had Wings” is three and a half minutes of pure pop-country euphoria.
#2
“This Kiss”
Faith, 1998
Does this song even need a caption? Probably not, but here it goes anyway. “This Kiss” is a perfect sonic encapsulation of all the joy and romantic giddiness of a newfound love (and yet it came out when Taylor Swift was still in grade school). There are few pop-country tunes that are able to achieve such high levels of catchiness, or to give the replay button a workout like this song does.
#1
“Stealing Kisses”
Fireflies, 2005
Mature, intelligent, and insightful – exactly the kind of material country radio is perpetually in need of, and yet all too often shies away from. “Stealing Kisses” plays like a sequel to the innocent youthful “Love Story”-esque material of artists such as Taylor Swift. As a young woman, the narrator is “stealing kisses from a boy” only to find herself a housewife “begging affection from a man” with the passage of time.
Lori McKenna writes a beautiful song, and Faith Hill beautifully sings it. The song was released as the fifth and final single from Fireflies, and though it only scraped the bottom of the Top 40, it offered one of those rare and special moments when the voice of the adult woman was heard on country radio. Faith Hill and her label are to be commended for having the guts to send it to radio in the first place. A definite career highlight, “Stealing Kisses” aptly demonstrates that, at her best, Faith Hill is just as capable of delivering deep, substantial material as she is capable of serving up a tasty morsel of ear candy.
The terrorist attacks on American soil ten years ago changed the course of our nation’s history in far more significant ways than just its impact on country music.
But the fact is that country music was changed as well. Here are the four biggest ways that it did, for better and for worse.
1. Alan Jackson Becomes a Legend
He was still getting solid radio airplay and record sales in 2001, but it seemed like his glory days were behind him. Then, he stepped on to the CMA Awards stage and debuted “Where Were You (When the World Stopped Turning)” to a stunned industry crowd on national television.
It was the perfect song by the perfect artist at the perfect time, and it launched an amazing return to the head of the pack. The commercial success was great, but it’s worth noting that “Where Were You” served notice that he was undergoing an artistic renaissance as well. The big hits that followed – “Drive (For Daddy Gene)”, “It’s Five O’ Clock Somewhere,” and “Remember When” – were the best of his career. Heck, of anybody’s career.
2. Toby Keith Becomes a Superstar
On the same night that Jackson performed his instant classic, Toby Keith just sang his latest hit, the novelty number “I Wanna Talk About Me.” But the following spring, he came out with the next quintessential post-9/11 anthem, “Courtesy of the Red, White and Blue.”
While it didn’t lead to nearly the same level of artistic growth that Jackson experienced, it did launch Keith into the rarefied air of country superstardom. For most of the next decade, he’d be an instant add at radio. And if some of those hits made us wince, it was still great to see the finest male vocalist of his generation get his due. For those of us who thought that he was robbed at radio and industry award shows in the nineties, it was rewarding to see him have his day.
3. The Politicization of Country Music
National unity began to fade in the run up to our invasion of Iraq, and country radio picked a side, much to the detriment of the format. The shamelessly jingoistic “Have You Forgotten?” became a seven week #1 for Darryl Worley, while a criticism of President Bush wiped the Dixie Chicks off of the radio dial.
The upshot? Country radio sent the message that if you weren’t on board with the Bush Administration, you better keep your mouth shut. Then again, with Worley’s career fading soon after “Have You Forgotten?”, opening it was no guarantee for long-term success, either.
4. Female Domination of the Genre Evaporates
This was the worst of it. Country record sales exploded in 2002, and the industry credited it to traditionalists Jackson and Keith. Radio drew the conclusion that listeners didn’t want any more pop-flavored country, despite the fact that two of the biggest selling albums of the year were by Shania Twain and Faith Hill.
Both ladies struggled at radio with their top-selling projects, and the careers of Lee Ann Womack and SHeDaisy nearly ended. Even ten years later, with the top-selling artists being Taylor Swift and Carrie Underwood, most female artists are still struggling to get radio play.
It’s always interesting to see how music industry awards reflect (or don’t reflect) larger narratives in the industry itself.
If you’re interested in the narratives behind this year’s CMAs, look no further than the two men who’ve made the biggest strides on the ballot: Blake Shelton and Jason Aldean. Both show up in Entertainer and Male Vocalist, plus Album and Single, plus assorted other stuff. But the marketing approaches that have gotten them there are vastly different.
Shelton’s is the traditional wisdom: cover all media ground with an inoffensive product until the people buy in. So he’s a core act at radio; he’s on a popular TV show (The Voice); he hosted the ACMs; he was in a ton of magazines for his marriage; he Twitters a lot.
Then there’s the Aldean approach: make a distinct product, generate enough radio support to plant the seeds, then go straight to the fans, tour relentlessly, build up word-of-mouth – let the industry come to you. I think it’s the more effective approach, personally. Look at Eric Church, who has a fraction of Shelton’s ubiquity but beat him in first-week album sales and is still beating him cumulatively - no TV spotlights, no gossip mags, no Twitter.
And look at how many acts on this ballot started on indie labels. Aldean, Taylor Swift, Zac Brown Band, Thompson Square, the freaking Civil Wars. Major-label power still matters, but it seems to mean less all the time. Media saturation still matters, but it seems to mean less all the time. Music is the only thing that always counts, and even the highly political CMAs are starting to have trouble ignoring it.
Just my thoughts, anyway. What say you to this list?
Entertainer
Jason Aldean
Brad Paisley
Blake Shelton
Taylor Swift
Keith Urban
Who’s In: Jason Aldean, Blake Shelton, Taylor Swift
Who’s Out: Lady Antebellum, Miranda Lambert, Zac Brown Band
Male Vocalist
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Keith Urban
Who’s In: Jason Aldean, Kenny Chesney
Who’s Out: Dierks Bentley, George Strait
Female Vocalist
Sara Evans
Miranda Lambert
Martina McBride
Taylor Swift
Carrie Underwood
Who’s In: Sara Evans
Who’s Out: Reba McEntire
Vocal Duo
The Civil Wars
Montgomery Gentry
Steel Magnolia
Sugarland
Thompson Square
Who’s In: The Civil Wars, Thompson Square
Who’s Out: Brooks & Dunn (historical moment!), Joey + Rory
Vocal Group
The Band Perry
Lady Antebellum
Little Big Town
Rascal Flatts
Zac Brown Band
Who’s In: Nobody
Who’s Out: Nobody
New Artist
The Band Perry
Luke Bryan
Eric Church
Thompson Square
Chris Young
Who’s In: The Band Perry, Eric Church, Thompson Square
Who’s Out: Easton Corbin, Jerrod Niemann, Zac Brown Band (won)
Notes: Bryan and Young are both on their second nominations here, but for once there’s no obvious frontrunner. Thompson Square pick up the category-filler nom from Jerrod Niemann. This reminds me: where has Easton Corbin gone?
Album
Blake Shelton, All About Tonight
Jason Aldean, My Kinda Party
Taylor Swift, Speak Now
Brad Paisley, This Is Country Music
Zac Brown Band, You Get What You Give
Notes: Shelton’s is a low-selling EP. Uhhh.
Single
Sara Evans, “A Little Bit Stronger”
Zac Brown Band, “Colder Weather”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Blake Shelton, “Honey Bee”
The Band Perry, “If I Die Young”
Song
“Colder Weather” – written by Zac Brown, Wyatt Durrette, Levi Lowrey, and Coy Bowles
“Dirt Road Anthem” – written by Brantley Gilbert and Colt Ford
“If I Die Young ” – written by Kimberly Perry
“Mean” – written by Taylor Swift
“You and Tequila” – written by Matraca Berg and Deana Carter
Notes: Nice to see there are still some Matraca Berg fans out there amid the Brantley Gilbert ones. Interestingly, Swift’s first nomination in this category.
Musical Event
“As She’s Walking Away” – Zac Brown Band featuring Alan Jackson
“Coal Miner’s Daughter” – Loretta Lynn, Sheryl Crow and Miranda Lambert
“Don’t You Wanna Stay” – Jason Aldean with Kelly Clarkson
“Old Alabama” – Brad Paisley with Alabama
“You and Tequila” – Kenny Chesney featuring Grace Potter
Notes: I’m troubled by the fact that “Don’t You Wanna Stay” is nominated for Single and “As She’s Walking Away” isn’t.
Music Video
“Honey Bee” – Blake Shelton
“If I Die Young” – The Band Perry
“Mean” – Taylor Swift
“Old Alabama” – Brad Paisley featuring Alabama
“You and Tequila” – Kenny Chesney featuring Grace Potter
Notes: The worst Brad Paisley video ever to be nominated here, I think.
Compared to the cultural juggernaut that was Fearless, Taylor Swift’s Speak Now has underperformed at both retail and radio. The set’s fifth single, “Sparks Fly,” could turn things around for Swift, as it’s perhaps the most perfectly constructed single in a career built on tracks that are marvels of pop production and songwriting.
What makes “Sparks Fly” a standout is that it is, in a lot of ways, the purest iteration of Swift’s template and repertoire. Producer Nathan Chapman grounds the single in a punchy, not-at-all-country pop-rock sheen and ensures that all of its key lines and phrases are pitched for maximum impact.
It’s that attention to the details of production that make Chapman and Swift such a strong team: Most singles don’t highlight a line in the middle of their second verse, but here, Chapman dials back the volume on the electric guitars just as Swift sings, “You find I’m even better/Than you imagined I would be.” There isn’t a line in the song that captures the tone of first-love wonder more perfectly, and Swift’s breathless delivery suggests that she might be even more surprised by that revelation than anyone.
The song’s proper hook is even better constructed. The a capella “Drop everything now” exclamation simply commands attention, with the desperation in Swift’s call-to-action answering the common criticisms that her work is sexless and chaste. For all of the well-documented technical limitations of her voice—and yes, she wanders off pitch more than once on “Sparks Fly,” and yes, it would likely be even better a single if she didn’t— Swift is learning how to perform her songs with real depth and conviction.
As for the song itself, the narrative of “Sparks Fly” doesn’t necessarily scan as “country” in any archetypal way, but its simplicity and plain-spokenness parallel some of the genre’s conventions. If Swift writes what she knows, what she knows better than anything else is the head rush of infatuation. Of the many songs she’s written on that subject, “Sparks Fly” is both the purest in tone and the most familiar. With references to meeting someone in the rain and being guarded and fireworks and a touch that’s “really somethin’,” the song makes use of nearly all of Swift’s go-to phrases and images.
But, rather than scanning as redundant when considered alongside “Fearless” or “Back to December,” “Sparks Fly” proves how evocative those turns-of-phrase can be in the right context. To that end, “Sparks Fly” plays as a template as much as it does as a standalone single, and it’s a testament to everything Taylor Swift gets right.
Feel free to mention, discuss or link to some of your favorite mom-related songs, or just any songs that remind you of a special mother or grandmother (since no one really knows when National Grandparents Day is anyway [except me now, via Wikipedia - it's the first Sunday after Labor Day. Woo!]).
Here are a few of mine:
Doc Watson, “Mama Don’t Allow No Music”
Performed by the most awesomely disobedient instrumental ensemble ever (though Watson probably overdubbed half of the instruments himself).
Iris DeMent with Matraca Berg, “Mama’s Opry”
This mama is significantly more tolerant of music.
Taylor Swift, “The Best Day”
The favorite potshot of many who dislike Taylor Swift is that she’s a spoiled, talentless rich kid who probably doesn’t even write her own songs. If that’s the case, someone managed one heck of a cover-up with this song, which captures with humble gratitude and a distinctly young perspective the little, unextravagant ways a mother can inspire and restore her children.
This is going to be a really important show, you guys.
WINNERS
Entertainer of the Year: Taylor Swift
Top Female Vocalist: Miranda Lambert
Top Male Vocalist: Brad Paisley
Album of the Year: Lady Antebellum, Need You Now
Song of the Year: “The House That Built Me”
Single of the Year: “The House That Built Me”
Top Vocal Duo: Sugarland
Top Vocal Group: Lady Antebellum
Top New Artist: The Band Perry
Top Till You Drop:
Vocal Event of the Year: Zac Brown Band & Alan Jackson, “As She’s Walking Away”
Music Video of the Year: Miranda Lambert, ”The House That Built Me”
- – -
10:02 Well, all right, that was fun enough. Kinda. Thanks for playing along, y’all, and have a good night!
9:58 A shocking upset! As shocking as, like, one of those chewy Sweet Tarts.
Entertainer of the Year: Taylor Swift
9:56 Hey, how about next year we get James Taylor to come back and sing with the Dixie Chicks again? Yes or yes?
9:52 They segue into “Sweet Baby James.” At least this pairing makes musical sense.
9:48 Leeann: Zac Brown and James Taylor, Carrie Underwood and Steven Tyler, Jennifer Nettles and Rihanna? Is CMT testing for upcoming Crossroads episodes?
9:45 Was having some trouble with the site for a few minutes there. Now we’re up to Zac Brown Band doing a very cool “Colder Weather” with James Taylor.
9:41 Amazing how only a year and a half ago the idea of Miranda winning one of the really competitive awards still seemed like a pipe dream.
Top Female Vocalist: Miranda Lambert
9:36 “Love Gets a Hold of You” or something. It sounds okay – almost in the same you’re-gonna-miss-me-boy! vein as “Turn on the Radio,” though. I think we’re all ready for some more mature Reba now. Take a lesson from Martina.
9:34 Reba’s out to sing something or other. I just saw today that “If I Were a Boy” got yanked as a single; this must be the new one?
9:27 Darius Rucker singing “Music from the Heart” with a choir of various ages and developmental disabilities. Very passionate, touching performance.
9:25 Chris Young’s trying out the hatless thing.
9:25 Oh, for real? At least he acknowledged he has too many now.
Top Male Vocalist: Brad Paisley
9:22 I don’t know how I’m still awake through all this. I shouldn’t be saying such things at 9:23.
9:17 Leeann: Martina is worming her way back into my heart again. I’m a soft touch.
9:17 …Who just tweeted, “Holy crap, I’m singing.” Perfect.
9:14 Awesome. It does. This reminds me of Jeannie C. Riley, the spunky honesty of it. And I like to fantasize that she got some inspiration for that opening “honestly, I think I need a drink” line from Drunken Martina.
9:13 Martina’s coming out with “Teenage Daughters.” I really hope this translates well to stage.
Top Vocal Duo: Sugarland
9:10 Kevin: Naomi Judd: The answer to the age-old question, “Whatever Happened to Baby Jane?”
9:09 Leeann:Ronnie Dunn sounds so much like Brooks & Dunn. Go figure.
9:07 He looks and sounds like musical Jesus. I mean that in a complimentary way!
9:03 Ronnie Dunn’s coming up with “Bleed Red.” Excited for that, kinda. I think C.M. Wilcox is right and that it’ll work well as an award show performance even if the single itself is a little sleepy (to some of us).
8:56 Leeann: Good. Have Kristian introduce Nettles/Rihanna to show how secure he is about being put on the sideline all the time. We’re convinced.
8:55 True fact: The banner at the top of this post will light up and spin all through this Rihanna-Jennifer Nettles performance. Watch closely!
8:53 She interjects a bit of some song I should probably recognize but don’t, and then “I’ll Fly Away.” And she sounds real good.
8:53 I bet there are some Christian folks out there from Miranda’s life who are like, “We did not say that!”
8:52 A Miranda performance is usually my favorite part of an awards night. But it’s “Heart Like Mine.”
8:41 Or, as our pal Corey Parkman of Farce the Music just put it on Twitter, “I wonder what Sara Evans would sound like if she ever got over that sinus infection.”
8:38 The return of Sara Evans to the ACMs. Last performance I remember from her here was that severely pitch-challenged one of “Coalmine” the night she won Top Female years ago. She sounds better here, but still not up to many of her recorded performances.
8:35 I mean, seriously, y’all. “Need You Now” is the only reason Need You Now has sold like it has, and the album selling like it has is the only reason it’s getting this recognition. “Need You Now” won Song and Single of the Year at last year’s ACMs; couldn’t that have been enough?
8:31 IEIOF432IfffkDdk&*$#vdsadvfdjfpvfs >:(
Album of the Year: Lady Antebellum, Need You Now
8:28 Well, don’t think I was missing much. Such a shame – he truly would be one of the best male vocalists in the game if he had better taste.
8:25 We get a Blake Shelton performance. Don’t recognize the song.
Single of the Year: “The House That Built Me”
8:14 Jason Aldean doing the Colt Ford country-rap “Dirt Road Anthem” and it’s every bit as cool you would imagine. (That is, decidedly un-.)
8:09 Apparently their dad’s name is Steve Perry. I snickered harder than I should have.
Best New Artist: The Band Perry
8:07 Kevin: And my favorite of the 57 performances so far is…Taylor Swift. No one can ever accuse me of not having an open mind.
8:05 Kimberly Perry delivers the “well” in “If I Die Young” with way too much spunk. “Well! I’ve had just enough time. So if I do die – y’know, whatever!”
8:03 Whoops, apparently it’s a guitjo/ganjo. Whatever, it’s not like I’m a writer of music-related opinion articles or something!
8:00 Taylor Swift singing “Mean” and strumming the banjo, which is not how I’ve known anyone to play the banjo. Pretty cool scene, though – they’re in front of an old-timey house and the band’s all decked out in their Depression-era best.
7:55 Kevin: Not naming the songwriters for Song of the Year is an absolute disgrace.
[They announced it as "Miranda Lambert, 'The House That Built Me,'" though she's not the one who wrote it.]
Song of the Year: “The House That Built Me”
7:53 Finally, we get one: Song of the Year.
7:50 Eric Church doing “Smoke a Little Smoke,” the one single of his I really dig, with verve. BUT THERE STILL HASN’T BEEN A SINGLE AWARD.
7:45 Back from commercial, Keith Urban performing his newest hit, “Without You (Nicole Kidman)(Pt. 3)(Ballad Version).”
7:42 Leeann: Seriously? Still no award yet? What are we watching?
7:38 Dierks Bentley running laps around the arena to “Am I the Only One,” determined to make us like the unlikable.
7:36 Kevin:That’s what I wanted that song to sound like on the album.
7:35 I’ll say this: JNett still has the best stage charisma of any mainstream country star who isn’t Keith Urban.
7:32 Leeann: Half hour in and still no award yet at this…uh…awards show.
7:32 Sugarland’s here, Jennifer apparently with hair extensions, and they’re doing “Tonight.” Figured this would probably be the next single. Like Kevin, I’d like the recorded version if not for the head-cold-ish performance.
7:30 Well, that was fun. Good thing I gave up on the term “country music” meaning anything a few weeks ago!
7:27 Kevin: We’re officially down the rabbit hole.
7:27 They segue into “Walk This Way.”
7:26 Steven Tyler is really good at screaming awesomely and only ok at remembering the words to Carrie Underwood songs.
7:24 Two Soul Surfer ladies come out to introduce Carrie, who’s doing “Undo It.” WITH STEVEN TYLER! OK, I like this now.
7:20 Apparently Dr. Pepper’s current slogan is “There’s nothing like a Dr. Pepper.” Uhhhh.
7:17 Pleasant enough song (“Somewhere Else”), and he’s got that sweet Toby growl going.
7:16 Leeann: It’s nice to like Toby Keith music these days.
7:14 “ARE THEY READY?! DOES ZAC BROWN ENJOY THE FEEL OF HIS ASS IN THE SAND?!” Best Blake line of the night so far.
7:13 The celebrity cheap shots are coming hard and fast, though.
7:10 We are promised no Charlie Sheen or Lindsay Lohan jokes. God? Is that you?!?
7:07 Celine Dion’s here now, and she’s VERY VERY EXCITED! I honestly can’t think of a better Vegas gate-keepeer, though.
7:07 Kevin: Since when did Alabama become a trio? What a poorly cropped picture, lawsuit or not.
7:06 It would be great if, instead of writing songs about how great the classic acts were, today’s artists just figured out how to measure up.
7:04 Leeann: Good. We get this disappointing Paisley song out of the way now.
7:04 “Old Alabama” now.
7:02 Cute-ish opening skit with Blake Shelton “rehearsing for his wedding night” by serenading a blond-wigged Reba with “Who Are You When I’m Not Looking.”
6:52 Leeann: John Rich is so much more tolerable when he’s with Big Kenny.
6:38 The JaneDear Girls just appeared onscreen. When are they un-appearing, I wonder?
6:33 Wynonna and Naomi Judd chilling with Suzanne Alexander now. Colorically speaking, Wynonna has become a human sunset.
6:31 Chris Young is now talking to Storme which means his voice is audible – yay!
6:26 On some red carpet somewhere, GAC’s Storme Warren just presented to Vocal Event award, inevitably, to “As She’s Walking Away.”
6:15 Dierks Bentley will be playing “Am I the Only One” tonight. Have fun, no one!
6:04 Super-jealous of The 9513′s sweet new live blog layout. Also: the smartness of their live-bloggers. Also: the fact that Brady and Brody Vercher are named thusly.
5:59 Red carpet time, woo!! I bet everybody’s totally wearing clothes this year.
I’ve never been a big fan of Taylor Swift because of two reasons. One, I don’t find any personal relevance in the adolescent perspective that she usually writes from. And two, I don’t care for her vocal style.
Go figure that she writes what’s probably her most adolescent song since “Picture to Burn” and directly answers criticisms that she can’t sing in the third verse, and the end result is my favorite thing she’s done to date.
Seriously. I want to go buy the album now. I realize that the song was inspired by those who’ve criticized her talent more than her work. But just like “Not Ready to Make Nice” was a direct response to death threats over a political statement but tapped into something more universal, “Mean” serves a larger purpose as well. It puts into song that feeling of being disrespected and insulted by someone with more power or a larger platform than you, for no other reason than they don’t like you.
The image I always use in my head is one of inner light. When that light shines bright, it offends those who’ve had their light go out. Nothing frustrates people like that more than someone whose light is completely resistant to every attempt made to extinguish it. It brings out their inner meanness.
Swift’s message to those on the receiving end is that those who will put you down may have power over you now, but it’s limited by time, place, and your own self-awareness.
I’m glad that this song exists. There isn’t nearly enough civility and kindness in the world, and some people really are just mean. I can’t think of another song that articulates the distinction between honesty and cruelty so well. It does it in a very adolescent way, with a healthy dose of snark-ridden contempt, but since mean people usually haven’t evolved beyond adolescence in the first place, such an approach seems wickedly appropriate.
I became a country fan twenty years ago, and have been fully immersed in the genre for about as long. I’ve read up on the history, heard pretty much every significant artist and recording, and can speak knowledgeably about the genre’s highs and lows over the past few decades.
We’ve never been this low. I think I finally understand why that is.
Jonathan Keefe from Slant wrote this in his review of the JaneDear Girls album, and it really hit home with me:
…the JaneDear Girls use a couple of catchy melodies and garish costumes to mask the fact that they can’t sing even a little bit, and, if they could, wouldn’t have a single authentic thing to say. In other words, they’re exactly what country music, in the throes of a pretty severe identity crisis, doesn’t need right now: its own Katy Perry.
This is the paradox that’s increasingly devouring country music. Artists are singing more than ever about how country they are, yet they’re doing it with songs that sound less country than ever.
Perhaps all of these “loud and proud” country identity songs are a reflection of the country lifestyle being fully swallowed up by suburbia, and “country” is now more of a chosen lifestyle than it is something homegrown. But “country music” has almost completely shifted to “music about being country.” You don’t have to sound country, you just have to revel in being country.
Country music cannot retain its identity this way. As a radio format, it isn’t going anywhere. As the larger player on the field, it’s managed to absorb a good chunk of what we used to call Adult Top 40, picking up a few of their core artists along the way.
But as a relevant genre of its own? That can’t continue if the vast majority of the new mainstream artists have little connection to what came before them. Superstars are hard enough to come by as it is, and when you think about the ones who have emerged from country music in recent years – Sugarland, Keith Urban, Taylor Swift, Lady Antebellum – their tenuous links to country music as a distinct art form are virtually nonexistent.
Ten years ago, Carrie Underwood would’ve been grouped as a pop-country diva. These days, she’s the only recent superstar that even seems to care that her music sounds identifiably country. And while there is no shortage of alternative country acts who are connected to the genre’s roots, their very existence on the outskirts of the mainstream prevent them from having a meaningful enough impact to carry on country music’s rich legacy.
Without a new generation of country stars breaking through enough to really captivate the interest of the public, I see no way for country music to continue as a viable art form and culturally relevant presence in contemporary music.
Lately, I’ve been playing “Deep Down” on a loop, and it got me thinking…
Friday, May 5, 2006 – The Palace of Auburn Hills, Michigan. For Faith Hill, it was just another stop on her Soul2Soul II tour with her superstar husband Tim McGraw. For young 14-year-old Ben Foster, it was my very first live concert experience (or at least the first that did not entail bringing a picnic blanket), and it was one that I never forgot. I still have the ticket stub.
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