Posts Tagged ‘Taylor Swift’

2012 ACM Awards: Staff Picks & Predictions

Friday, March 30th, 2012

Throw on your bedazzled boots – the 47th annual Academy of Country Music Awards air live from Las Vegas this Sunday at 8 p.m. EST. The show promises to be a melting pot of performances, with oddball duets like Rascal Flatts and Steve Martin - and no, that’s not an April Fools joke. The CU staff picked and predicted the awards below. Tell us your thoughts, and check back for our live blog on Sunday night!

Entertainer of the Year

Should Win:

  • Jason Aldean
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift – Jonathan, Dan, Tara, Leeann, Kevin, Ben, Sam

Will Win:

  • Jason Aldean – Sam
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift – Jonathan, Dan, Tara, Kevin, Ben

Ben: Okay, so I was going to go with Aldean based on his massive success… but Swift’s music has just been too dang good lately.

Jonathan: Swift is the only one of the five who has released any music I really liked during the eligibility period; that fan voting is part of whatever mysterious algorithm is used to determine the winner of this award helps her case. I recognize that Aldean has a good look at this, too, but I’ll admit to just digging my heels in and refusing to get on board with the idea that he’s considered the standard-bearing artist in country music.

Tara: Swift released some of the best material of her career in the eligibility period, and her star seems as bright as it’s ever been. And while I can’t picture her losing something fan-voted, I wouldn’t be shocked if Aldean snuck up on her, especially given the secret fan / academy vote ratio. I just hope that this time next year, there are a few shake-ups in this category. I’m bored.

Dan: I like Swift the best, but can’t muster the energy to root actively against Aldean like I did with, say, Rascal Flatts.

Kevin:  Aldean vs. Swift, with me erring on the side of the one who made more music that I liked this year.

Sam: Just a hunch, but the Taylor Swift voters might be as fanatical as usual because Carrie Underwood isn’t nominated for this award. That might give Aldean the chance to sneak in.

Male Vocalist of the Year

Should Win:

  • Jason Aldean – Dan, Kevin, Sam
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Chris Young – Ben, Jonathan, Tara

Will Win:

  • Jason Aldean – Dan, Sam
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton – Ben, Jonathan, Tara, Kevin
  • Chris Young

Dan: Aldean remains the hottest guy out there by a huge margin, and occasionally puts out something decent like “Fly Over States.” I’ll just keep picking him to win this until he does. La la la.

Ben: Aldean’s success speaks for itself, but I would really like to see Chris Young take this. He released a solid new album, remained a consistent hitmaker at radio, and has made the most music that I’ve actually cared about. But seeing as the industry award voters have been showing a lot of excessive Shelton love as of late, my gut says that Blake Shelton is going to get this. (There are no awards for TV Judge of the Year or Newlywed of the Year, so the ACM will probably give him this one instead)

Jonathan: So let’s talk about Chris Young for a minute. The guy has a fantastic voice, one of the strongest and most distinctive instruments to come down Music Row in a minute, and that alone is enough to elevate him above most of the other men who have scored major airplay in the past couple of years. But the discrepancy between the quality of Young’s vocal performances and the quality of the songs he’s performing is a problem, and here’s yet another instance of an artist with the potential to be really and truly great receiving a thumbs-up from the industry for work that’s just occasionally on the better side of okay. Where’s the incentive for someone like Young to be even better if he’s being recognized now? And what does it say that, despite his wildly uneven material, he’s far and away the class of this particular field of nominees?

Tara: I have to disagree with Jonathan on this one; I find Neon to be a refreshing, neo-traditional gem, more organic than it is uneven. In this stage of Young’s career, I view his body of work as a stepping stone and an indication of potential, and I have no issue with it being rewarded. But it won’t be; Mr. Lambert’s got the entertainment industry on lockdown. And I can’t say I really mind.

Kevin: Picking Aldean as the “should win” solely because he had the biggest year, though I suspect Shelton will win anyway.

Sam: I get the love for Miranda Lambert, but the Blake Shelton love is largely lost on me. Not a fan of Aldean either, but he’s due for this award.

Female Vocalist of the Year

Should Win:

  • Sara Evans
  • Miranda Lambert – Dan, Ben, Tara, Leeann, Sam
  • Martina McBride
  • Taylor Swift – Jonathan, Kevin
  • Carrie Underwood

Will Win:

  • Sara Evans
  • Miranda Lambert – Dan, Ben, Jonathan, Tara, Leeann, Sam
  • Martina McBride
  • Taylor Swift – Kevin
  • Carrie Underwood

Dan: I think Swift has been the strongest solo act this past year, but Lambert released a decent fourth album and a terrific group one. With no place on the ballot to reward Pistol Annies (fix that, CMAs?), this’ll do.

Ben: Swift put out a string of very good singles, but… Four the Record + Pistol Annies = The Miranda Lambert love will be fully justified.

Jonathan: If we’re counting Pistol Annies, then I can absolutely see the case for Lambert and could be convinced to vote accordingly, and I think she still has the momentum to win here. If we’re just looking at solo material, though, I’m unapologetically sticking with Swift’s “Mean” and “Sparks Fly,” which trump anything that the other four women in the category released during the eligibility period. With Underwood having a new album to support and, hopefully, Kellie Pickler getting the recognition she deserves for her latest work, this category should be a hell of a lot more interesting and competitive come CMA time.

Tara: Swift delivered the better material, but Lambert delivered the better performances, Hell On Heels notwithstanding. By my definition of FVOTY, this should go to Lambert. (And I’m stoked for the fall award season, too.)

Leeann:  I have no real reason to believe that the Academy would take this from Lambert this year.

Kevin:  Can you believe that Swift is the only nominee who hasn’t won this yet?  I know Lambert should be the favorite, especially given the ACM’s fondness for her.  But I can’t shake the feeling that she’s lost some momentum with her latest project.

Sam: Miranda will continue to own this category until someone like Carrie Underwood steps up with a new album.

Vocal Duo of the Year

Should Win

  • Love and Theft
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland – Leeann
  • Thompson Square – Dan, Ben, Tara

Will Win:

  • Love and Theft
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland – Dan, Ben, Leeann, Kevin
  • Thompson Square – Jonathan, Tara, Sam

Ben: The Civil Wars are really the only duo I’ve cared about this past year, but they have been stupidly excluded in favor of Love and Theft (who only released one mediocre single in the past year), so I’m going with Thompson Square instead. They’ve been doing well at radio, and their music has not been terribly grating, but I’m pretty sure that the ACM will remain stuck on Sugarland.

Dan: With The Civil Wars absent from ACM’s roster and Sugarland having a messy year across the board, Thompson Square seems like the last band standing. And they’re cute, right?

Jonathan: The song remains the same: This category should’ve been merged with Vocal Group of the Year eons ago to trim the fat. Given that the ACMs are still ostensibly more radio-oriented than the CMAs and that Sugarland have actively alienated radio with the god-awful singles from their god-awful album, I’m going to say that Thompson Square pull off the upset here. Just don’t ask me to hum or even to name more than one of their songs…

Tara: I honestly can’t muster an opinion. What’s Sugarland been up to these days, anyway?

Leeann:  This category isn’t even worth comment this year.

Kevin: Saying somebody should win implies that I think there’s a worthy winner, so I’m just going to say that Sugarland will win.

Sam: No Bellamy Brothers nod? You mean country music actually had five legit nominees for a Duo award this year? Artistically, The Civil Wars and Foster & Lloyd would be the most deserving this year.

Vocal Group of the Year

Should Win:

  • The Band Perry
  • Eli Young Band
  • Lady Antebellum
  • Rascal Flatts
  • Zac Brown Band – Dan, Ben, Jonathan, Tara, Leeann, Kevin, Sam

Will Win:

  • The Band Perry – Sam
  • Eli Young Band
  • Lady Antebellum – Dan, Ben, Jonathan, Tara, Leeann, Kevin
  • Rascal Flatts
  • Zac Brown Band

Ben: I’ve tried to hold out hope that the award industries would lay off the ridiculous Lady A adoration, but the CMAs and Grammys have shown me otherwise.

Jonathan: No reason to think the ACMs will break the trend of giving unearned trophies to the C students in the class.

Tara: I remain firmly in ZBB’s corner; the band produced my favorite single of 2011. But I would much, much prefer this award to go to the flavor of the month Eli Young Band than the flavor of the year Lady Antebellum.

Dan: I miss Little Big Town, but this is the first time in recent memory that this category has had five competitive groups. Like Aldean in the Male Vocalist race, Zac Brown Band sell as well as anyone and haven’t won yet, so I’ll probably keep picking them until they do, too. La la la x2.

Leeann: I’d love to see Zac Brown Band take it this year, but I don’t have enough faith that Lady A won’t just keep the award.

Kevin:  Always gonna root for ZBB.  Just losing hope that they’ll ever actually win.

Sam: ZBB is operating on a higher level than any other vocal group, but I’m alright with The Band Perry’s quirkiness getting some recognition.

New Artist of the Year

Should Win:

  • Brantley Gilbert
  • Hunter Hayes – Dan, Tara
  • Scotty McCreery

Will Win:

  • Brantley Gilbert
  • Hunter Hayes
  • Scotty McCreery – Ben, Dan, Jonathan, Tara, Leeann, Kevin, Sam

Dan: Of the three, I think Hayes has the most raw talent (played every instrument on his album!) and could one day be an interesting artist. So, vote of optimism! ;D

Ben: I think this will be between Gilbert and McCreery. My gut says Scotty McCreery “will” win, but this line-up is just too depressing for me to make a case for who “should” win. Dan makes a good point about Hunter Hayes though…

Jonathan: I can’t.

Tara: Uh…I guess this is as good a time as any to confess my love for “Storm Warning.”

Leeann: I don’t even have the heart to choose who I think should win, but I’m guessing the “American Idol” winner will win.

Kevin: New Coke >>>> New Artist of the Year.

Sam: This is fan voted, right? Well, if McCreery’s fans can vote him to win “American Idol”…

Album of the Year

Should Win:

  • Eric Church, ChiefDan, Ben, Jonathan, Tara, Leeann, Kevin
  • Miranda Lambert, Four The Record – Sam
  • Kenny Chesney, Hemingway’s Whiskey
  • Jason Aldean, My Kinda Party
  • Lady Antebellum, Own The Night

Will Win:

  • Eric Church, Chief
  • Miranda Lambert, Four The Record
  • Kenny Chesney, Hemingway’s Whiskey
  • Jason Aldean, My Kinda PartyDan, Ben, Sam
  • Lady Antebellum, Own The NightJonathan, Tara, Leeann, Kevin

Ben: Eric Church edges out Miranda as my pick, but I’m fairly sure this will go to Aldean, and I refuse to predict that Lady Antebellum will win this.

Jonathan: I liked Lambert’s album exponentially less each time I listened to it, so I stopped listening to all but two of its tracks (“Fine Tune” and “Dear Diamond”) months ago to preserve at least some degree of fondness for it. Church’s album has some significant limitations of its own, but, song-for-song, it’s the strongest set in this line-up. I have no idea what I would ever actually say to a person who believes that Richard Marx’s Repeat Offender Amy Grant’s House of Love Lady Antebellum’s Own the Night scans as a country album in any substantive way, or that it’s the best country album of this or any year. But clearly there are people who do believe that, and recent history says there are enough of them for Lady A to win this.

Tara: It’s a toss up between Lambert and Church for me, with Church’s realized hard-assness giving Chief a slight edge. But it’s Lady A’s to lose – and I’m not sure anything in the industry has frustrated me more than their wins as of late. It’s worse than laughably unfair; it’s potential-threatening. And it has to stop.

Dan: When Church is bad, he’s cringe-worthy. When he’s good, he kicks most of the ass he told you he’d kick.

Leeann: I won’t be surprised if Lady A wins, but I’d love to see Eric Church win for the most interesting album of the bunch. I wouldn’t mind seeing Miranda Lambert win either.

Kevin: I just hope I’m wrong a lot this year.

Sam: Pretty sad when a “good for a Jason Aldean album” album beats out two superior albums from Church and Lambert, but I think that will be the case.

Single Record of the Year

Should Win:

  • Eli Young Band, “Crazy Girl”
  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
  • Toby Keith, “Red Solo Cup”
  • Chris Young, “Tomorrow”
  • Kenny Chesney featuring Grace Potter, “You and Tequila” – Ben, Dan, Tara, Leeann, Kevin, Sam

Will Win:

  • Eli Young Band, “Crazy Girl”
  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Dan, Ben, Jonathan, Tara, Leeann, Kevin, Sam
  • Toby Keith, “Red Solo Cup”
  • Chris Young, “Tomorrow”
  • Kenny Chesney featuring Grace Potter, “You and Tequila”

Ben: “Tequila” outclasses most of the field, though “Tomorrow” is also a solid contender. I get the novelty value of “Red Solo Cup,” but Single Record of the Year? Nah…

Jonathan: Even for a novelty song, I thought “Red Solo Cup” was poorly constructed and lazily written, but I kind of hope it wins, if only to prove that this year’s ACMs are just a straight-up farce.

Tara: I don’t love any of these, but “You and Tequila” is the only one I can imagine holding up in ten years.

Dan: Whatever.

Leeann: I can’t even believe “Red Solo Cup” is a contender! I’d love to see Kenny win for one of his best recordings, though I suspect Jason Aldean and Kelly Clarkson will win due to their cross genre appeal and all.

Kevin: Please let me be wrong a lot this year.

Sam: I will be rooting for “Red Solo Cup” and its inspired idiocy, but this could be part of Jason Aldean’s big night at the ACM.

Song of the Year

Should Win:

  • “Crazy Girl” – Lee Brice & Liz Rose
  • “Home” – Brett Beavers, Dierks Bentley & Dan Wilson – Leeann
  • “Just a Kiss” – Dallas Davidson, Dave Haywood, Charles Kelley & Hillary Scott
  • “Threaten Me With Heaven” – Amy Grant, Vince Gill, Dillon O’Brian & Will Owsley – Jonathan, Tara, Kevin
  • “You and Tequila” – Matraca Berg & Deana Carter – Dan, Ben, Sam

Will Win:

  • “Crazy Girl” – Lee Brice & Liz Rose
  • “Home” – Brett Beavers, Dierks Bentley & Dan Wilson – Dan, Ben, Jonathan, Tara, Sam
  • “Just a Kiss” – Dallas Davidson, Dave Haywood, Charles Kelley & Hillary Scott – Kevin
  • “Threaten Me With Heaven” – Amy Grant, Vince Gill, Dillon O’Brian & Will Owsley
  • “You and Tequila” – Matraca Berg & Deana Carter – Leeann

Dan: “Home” has felt like awards bait to me since I first heard it. Me, I’m a “Tequila” guy.

Ben: Ditto to Dan.

Jonathan: As much as I’d like to see Berg and Carter pick up some new hardware, I’d still give the edge to Gill’s song. When “Home” does win, which I agree it will, I’ll just pretend it means that Jason Isbell has finally won a major industry award.

Tara: “Threaten Me With Heaven” is gorgeously written, but I won’t mind if (and when) “Home” takes the award. Country music could use a shot of graceful patriotism.

Leeann: I’m pleased to have three songs that I’d be happy to see win the award this year. I feel like either Chesney or Bentley will rightfully win…I hope so at least.

Kevin:  Pretty please?

Video of the Year

Should Win:

  • Eric Church, “Homeboy”
  • Lady Antebellum, “Just a Kiss”
  • Taylor Swift, “Mean” – Ben, Dan, Jonathan, Tara, Kevin, Sam
  • Toby Keith, “Red Solo Cup”
  • Jason Aldean, “Tattoos On This Town”

Will Win:

  • Eric Church, “Homeboy”
  • Lady Antebellum, “Just a Kiss”
  • Taylor Swift, “Mean” – Kevin
  • Toby Keith, “Red Solo Cup” – Ben, Dan, Jonathan, Tara, Sam
  • Jason Aldean, “Tattoos On This Town”

Ben: I could actually live with “Red Solo Cup” winning this, but I still enjoy “Mean” quite a bit more.  Plus I kind of hate Lady Antebellum’s video for being nothing more than a glorified iPad commercial.  I also think “Mean” deserved a nomination for Single Record of the Year, so I would like to see it acknowledged here.  Still, I don’t think I can bet against “Red Solo Cup.”

Jonathan: That “Mean” didn’t score the Single and Song of the Year nominations with the ACMs that it has elsewhere seems revealing, with “Red Solo Cup” as the most likely beneficiary. I just hope that the faux gravitas of the “Homeboy” clip doesn’t give it any footing.

Tara: I’m equally disappointed that “Mean” didn’t snag a nomination for Single or Song of the Year. With the video almost as freshly produced as the single, it’s an easy one to root for in this category. I have no inkling as to who will win, but I’ll piggyback off of my co-bloggers on the frat party anthem.

Dan: I could do without how the “Mean” clip ends with a little girl idolizing Taylor Swift, but am I gonna vote against the country music video that had the anti-gay-bullying message? No, I’m not.

Kevin: I think the Swift clip has enough pizazz to triumph in the end over Toby’s YouTube video.

Vocal Event of the Year

Should Win:

  • Aaron Lewis featuring George Jones & Charlie Daniels, “Country Boy”
  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
  • Brad Paisley featuring Alabama, “Old Alabama”
  • Brad Paisley duet with Carrie Underwood, “Remind Me” – Tara, Kevin, Ben
  • Kenny Chesney featuring Grace Potter, “You and Tequila” – Dan, Jonathan, Leeann, Sam

Will Win:

  • Aaron Lewis featuring George Jones & Charlie Daniels, “Country Boy”
  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Jonathan, Dan, Leeann, Kevin, Sam
  • Brad Paisley featuring Alabama, “Old Alabama”
  • Brad Paisley duet with Carrie Underwood, “Remind Me” – Tara, Ben
  • Kenny Chesney featuring Grace Potter, “You and Tequila”

Jonathan: The Lewis track is one of the worst singles of the past five years or more, and its nomination is an indication of how deeply modern country music hates the actual traditions and values of the genre.

Tara: As middle-of-the-road as it is, something in the melody of “Remind Me” intrigues me. And I have a random feeling the voters will use this category to reward their dethroned male and female vocalists of the year.

Dan: It’ll be interesting to see if “Remind Me” can unseat “Don’t You Wanna St– oh, who am I kidding. Nothing is interesting anymore.

Leeann: Ugh. I pretty much know that Jason Aldean and Kelly Clarkson will win, but I’d love to be wrong. Meanwhile, I continue to faithfully root for the Chesney/Potter collaboration.

Kevin: I like my Vocal Events to be full-out Vocal Events, so I’m going for Paisley/Underwood over Chesney with backing vocals from Potter.  The latter pair made the better record, though.

Ben:  I’m with Tara and Kevin.  “You and Tequila” is the best record overall, but that has more to do with Berg and Carter’s songwriting than with Potter’s contributions.  “Remind Me” is the one that feels like an actual event.

Sam: Aldean & Clarkson outscreamed Paisley & Underwood, so they lay claim to the trophy. Chesney and Potter, what were you two thinking by just going out there and singing? Next time, I want to hear some wailing and primal screams, because that’s what makes for a successful duet these days.

Single Review: Taylor Swift feat. The Civil Wars, “Safe & Sound”

Friday, February 24th, 2012

Yeah, you’ve probably heard this track by now. But let’s just have a post where we talk about it anyway, y’know?

Because this kind of release begs some blog attention, simply for the fact of what it is: a meeting of highly buzzy but divergent artists, and the first soundtrack cut from a hotly anticipated movie (The Hunger Games, adapted from Book 1 of Suzanne Collins’s mega-popular young-adult series). On paper alone, it’s a reminder of why the award shows optimistically call the duet category “Vocal Event.”

And off paper? Solid soundtrack fare – hard to fault, doesn’t call much attention to itself. Swift bends to the earthier, eerier style of her collaborators, producing a lullaby whose minor cadences give lie to its lyrics’ assurance of peace and security. That tension plays especially well if you’re familiar with the book/movie’s storyline, but it works outside that context, too. Meanwhile, Swift’s ghostly sigh can’t quite match The Civil Wars’ for impact (ghostly sighing is like their #1 thing, after all), but her youthful timbre does nicely evoke the story’s protagonists, who are themselves young people ensnared in dark circumstances.

All in all, it makes for a pleasant preview of the T-Bone Burnett-helmed soundtrack, which – with expected tracks from Pistol Annies, Punch Brothers, The Decemberists, Carolina Chocolate Drops, The Secret Sisters, and Neko Case, plus another from Swift – could well end up being one of the year’s cooler albums. May the odds be ever in our favor.

Written by Taylor Swift, John Paul White, Joy Williams, and T-Bone Burnett

Grade: B

Grammy Live-Blog 2012

Sunday, February 12th, 2012

Winners

Album of the Year: Adele, 21

Record of the Year: Adele, “Rolling in the Deep”

Song of the Year: Adele Adkins & Paul Epworth, “Rolling in the Deep”

Best New Artist: Bon Iver

“Best” Country Album: Lady Antebellum, Own the Night

Best Pop Vocal Performance: Adele, “Someone Like You”

Best Country Solo Performance: Taylor Swift, “Mean”

Best Country Duo/Group Performance:  The Civil Wars, “Barton Hollow”

Best Country Song: Taylor Swift, “Mean”

Best Americana Album:  Levon Helm, Ramble at the Ryman

Best Bluegrass Album: Alison Krauss & Union Station, Paper Airplane

Best Folk Album:  The Civil Wars, Barton Hollow

- – - – - 

11:33 Ben: I had a blast. Big thanks to Dan for doing a bang-up job leading the live blog, and thanks to everyone who partipated in the comments. See y’all at ACM season!

11:32 Tara: Thanks for hanging out, y’all! Tonight’s show kind of grew on me, with its surprising focus on the music (how quaint). And lest we forget: when Adele wins, we all win.

11:27 Dan: And we close the show with a spirited “Carry that Weight” with Paul McCartney, The Boss, Dave Grohl, and a bunch of guitar dudes I’m ashamed to say I don’t recognize. Slow night, but some really nice moments!

11:24 Dan: “A little bit o’ snot” is literally the best thing I’ve ever heard in an acceptance speech. I don’t know how you could hate Adele.

11:22 Ben: Does Adele need to come up with her own version of the Surprised Face?

11:21 Dan: So many upsets tonight!

Album of the Year: Adele, 21

11:20 Ben: I love the chirpy way Diana Ross talks.

11:13 Ben:  “Still to come:  Will Diana Ross present the Grammy for Album of the Year to Adele…” or to someone who is not Adele.  Gotta love how they at least attempt to build supense.

11:11 Ben: “Thank you so much.  This is ridiculous.”  Oh, how she makes me smile.

Record of the Year: Adele, “Rolling in the Deep”

11:1o Ben: Go ahead, Lady A.  Remind us of all the undeserved awards you won last year.

11:10 Dan: I wish I had liked that song more on first listen. Nicki’s a great talent, but that felt self-indulgent.

11:10 Ben: It’s…interesting.

11:08 Tara: From a visual standpoint, this is the coolest performance of the night. Jury’s still out on the song. I’m kind of scared?

11:06 Dan: I can’t believe the Grammys let Nicki Minaj get away with this “Roman’s Revenge” “Exorcism” spectacle. God bless ‘em.

10:53 Ben: Oh gosh. Kill the AutoTune. Please.

10:52 Dan: I have one word to the Grammys for each Chris Brown performance tonight: 1) F*** 2) you.

10:49 Tara: Stunning performance by J Hud. As frustrated as I am with some of the nominations and wins, tonight’s shining moments have come in the form of naked voices – and that’s really refreshing.

10:46 Ben: So genuine.  So sincere. So…wow.

10:44 Ben: Jennifer Hudson is the right person for the job.

10:43 Dan: Jennifer Hudson’s Whitney tribute starting now. Looking and sounding awesome on “I Will Always Love You.”

10:36 Ben: He’s clearly putting on no airs here.  Very down-to-earth.

10:35 Dan: I was rooting for Nicki, but this is well deserved. Justin Vernon is the real deal.

Best New Artist: Bon Iver

10:33 Ben: The first hour was blah, but this show has picked up a heck of a lot of steam.  I am loving this Bennett-Underwood duet.

10:33 Tara: Carrie proving why she won this award five years ago. That voice.

10:31 Dan: Tony Bennett and Carrie Underwood on “It Had to Be You” now. Quality, as you’d expect. I have to wonder how these old-guy-young-girl duets usually manage to avoid sounding creepy.

10:26 Ben: The Adele performance and the Glen Campbell tribute are, so far, this year’s “Grammy moments.”

10:23 Tara: Very sincere, sweet tribute. If we ignore the Lady A win, country music is cleaning up tonight.

10:22 Ben: My heart has a happy.

10:22 Dan: Glen sounds lively and buoyant, rephrasing “Rhinestone Cowboy” as a career retrospective and advice to the young ones. And between-line commentary. Just wonderful.

10:21 Dan: Blake Shelton does justice to “Southern Nights.” But here comes the man!

10:20 Ben: I think they’re sounding really great tonight.  Love hearing that mandolin!

10:17 Dan: Thank goodness – they’re sounding nice and string-bandish on “Gentle on My Mind.” I usually find Kimberly’s vocal style a little shouty, so it’s good they’re performing a song with a quick, percussive feel.

10:16 Dan: Glen Campbell time! Don’t blow this, Perrys.

10:10 Ben: THIS IS ADELE’S MOMENT.

10:09 Tara: Adele looking as gorgeous as she sounds. The nuance in her performance is just incredible.

10:09 Ben: Adele is looking great tonight.  That new haircut suits her well.  Oh yeah… sounding great too.

10:08 Ben: At least we can enjoy the long-awaited Adele performance as I’m reeling from the Lady A victory.

10:04 Ben: I already knew that Lady A’s new music was ovverrated as heck, but honestly… This isn’t even funny anymore.

9:59 Tara: I told you guys I had a feeling about this. What a disappointment, and what a waste of sheer talent.

9:59 Kevin: They must own the accounting firm that tabulates the votes.

9:59 Ben: Oh gosh. This is the part where I start throwing things at the TV.

9:59 Dan: AGGGGH

“Best” “Country” Album: Lady Antebellum, Own the Night

9:58 Ben: Country Album now. Let it be anyone but Lady A.

9:57 Tara: Katy Perry reminding me that I’ll take sleepy performances by legends over dynamic performances by substance-less pop stars any day.

9:57 Ben: Still lip-synching, I think.

9:55 Well, this second song maybe sounds a little more raw and pitchy. Maybe it was just on “E.T.”

9:54 And the most obvious lip-synching of the night: Katy Perry.

9:52 Ben: Happy face for Adele Adkins and Paul Epworth!

Song of the Year: Adele Adkins & Paul Epworth, “Rolling in the Deep”

9:37 Ben: I hate how the host network away has to stick the stars of their current programs in random spots just like ABC does with the CMAs.  I know they want to drive ratings, but it seems to take the focus off the music.

9:50 Ben: I must have missed the “OMG!” face.  Either that or I’m so used to it that it goes by without notice.

9:46 The Taylor Swift “OMG!” face returns. It was so ridiculous that you had to laugh.

9:46 Ben: My favorite performance so far by a long shot.  A wonderful and unabashedly fun performance.

9:44 Tara: A lovely 60 seconds of “Barton Hollow” followed by Taylor Swift’s best live performance in a while on one of 2011’s best country singles. Country music victory on the Grammys. Wonder what Lefsetz is thinking right now?

9:42 This is kind of surreal, seeing her perform the song that was probably inspired by the backlash over her last Grammy performance.

9:42 Ben: It’s great to see a Taylor Swift performance that actually feels representative of the country music genre.

9:41 Ben: Yay!  It’s our jam!  “Mean”!

9:40 Ben: I can’t get over how much John Paul White looks like Johnny Depp.

9:38 Ben: Finally!  The Civil Wars are here to restore order.

Best R&B Album: Chris Brown, F.A.M.E.

9:34 Paul McCartney crooning some very Valentine’s-Day-ish song. The Grammys are determined to send us to an early sleep.

From Twitter: Stevie is never allowed to die. @SaraJBenincasa

9:35 Tara: I’m so in, Dan. I can’t even pinpoint why the show is dragging so much – the performances haven’t been awful.

9:31 It’s only an hour and a half in and I think everybody is already super-duper bored. You guys wanna play Never Have I Ever?

9:20 Tara: The Beach Boys make my heart smile. But this is oh so sleepy…

9:20 Foster the People are faring slightly better with “Wouldn’t It Be Nice,” but…this could be any bar band, really.

9:18 Maroon 5 start off the Beach Boys tribute/reunion with a rather tepid “Surfer Girl.” They need to turn up Adam Levine’s mic, but this just isn’t the right song choice, either.

9:15 Terrific acceptance speech from Krohl about keeping music organic and craft-centered.

Best Rock Performance: Foo Fighters, “Walk”

9:12 However it ends up going, I’m really excited to see the Glen Campbell tribute. Really cool of the Grammys to honor him and his music on the telecast.

9:09 Tara: Y’all, I paid more attention to the countrified Chipotle commercial than anything on the show so far. True story.

From Twitter: Have a Pavlovian response to Coldplay. Gotta go fail to make out with a gay guy in my dorm room. Bye. @JillMorris

9:01 Tara: Chris Brown: 0, Rihanna: 1. No?

8:59 Kevin: Rihanna’s Tina Turner look is a brilliant way to acknowledge Brown’s presence on the show.

8:58 Whatever your feelings about Rihanna’s music, she usually sounds really solid live.

8:52 Wasn’t wild about the audio job on that Foos performance, but it’s great to see they’re still on top of their game. Dave Grohl really is an icon.

8:48 Jack Black introducing the Foo Fighters is just the injection of life this show needs after that sleepy duet.

8:45 Ben: I like “Don’t You Wanna Stay” for what it is, but I don’t like the way it sounds in a live setting.  I have an acoustic version in my iTunes, and I so much prefer listening to it in that form.

8:42 Ben: Yeah, leave Kelly’s mic on.  Turn Jason’s off.  Works for me.

8:41 Kevin: For the blog: I think they turned off Jason’s mic.  Thanks for that.

8:41 Tara: “Don’t You Wanna Stay” isn’t an awful representation of country music on the Grammys, I suppose. I just. Don’t. Get. Jason Aldean.

8:39 I like “Don’t You Wanna Stay” but this performance does have a little of that “Ooo is that paint drying over there?” quality.

8:37 Ben: Yay, Reba! Nice little speech about how music brings people together.

8:37 Well okay. Hey, Reba’s here!

Best Rap Performance: Jay-Z & Kanye West, “Otis”

8:30 Tara: Not particularly impressed by this infamous Chris Brown comeback performance. All I know is Ken Ehrlich’s “victim” statement is deplorable.

8:27 Chris Brown performing now. Have y’all read this yet?

8:25 Ben: I love how she thanks her doctors for bringing her voice back.  She’s so adorable.

8:24 Ben: Adele.  Surprised?  No.  Happy?  Yes.

Best Pop Vocal Performance: Adele, “Someone Like You”

8:23 Ben: Alicia Keys and Bonnie Raitt make a very interesting musical pairing.  I enjoyed that performance.

8:23 Tara: Love the simplicity of this tribute. And damn, Alicia Keys can wail.

8:22 Alicia Keys and Bonnie Raitt (!) paying awesome tribute to Etta James with “Sunday Kind of Love.” No complaints here!

8:21 Ben: Snippet of “Something to Talk About.”  My toe instantly begins tapping.

8:19 Ben: I’m pumped.  Excited for The Civil Wars, and for Taylor Swift’s “Mean.”  Very well-deserved wins

8:19 Tara: So I’m pretty pumped about the pre-telecast country awards. Y’all?

8:15 Bruno Mars just wrapped up the second performance. Some nice mention of people getting off their “rich asses.” Hey, did you guys see Nicki Minaj and Japanese Taylor Swift?

8:11 Tara: I’m digging this “family of musicians” theme of the night. “Music is universal and healing,” says LL Cool J – absolutely.

8:10 Ben: That was cool how they showed the clip of Whitney singing “I Will Always Love You.”

8:10 “Are we excited to hear Adele’s beautiful voice tonight?!” They’re not even going to pretend this isn’t her show, y’all.

8:06 L.L. Cool J is the first Grammy host in several years, and he’s kicking off the night in beautiful fashion with a prayer in memory of Whitney. “There is no way around this; there’s been a death in the family.”

8:01 Kicking off with Bruce Springsteen is not the worst idea. Sounding lively on “We Take Care of Our Own.” It’s hard for that sentiment to set off some thoughts about last night’s events – I wonder if the whole night will be like this.

7:51 Watching this 60 Minutes on Adele. It’s really cool. I don’t have anything else to say about it, really – I just missed you guys!

7:05  Howdy, guys. Dan here. I’ll be running the blog tonight, though a lot of us CU writers will be chiming in. After last night’s loss, should be an especially dynamic show. It’s a good occasion to remember what a special gift music is. Show starts at 8 PM/7 Central – hope you can join us!

Grammy Awards 2012: Staff Picks & Predictions

Saturday, February 11th, 2012

The 54th annual GrammyAdele Awards air this Sunday at 8 p.m. Eastern. Look for appearances by Miranda Lambert, Dierks Bentley and Lady Antebellum as well as country-ish performances by Jason Aldean, Glen Campbell (with the Band Perry and Blake Shelton), Taylor Swift and Carrie Underwood. We’ve picked and predicted the awards below – share your thoughts, and be sure to drop by on Sunday night for our live blog!

Album of the Year

Should Win

  • Adele, 21 -Dan, Kevin, Ben, Tara, Sam
  • Foo Fighters, Wasting Light
  • Lady Gaga, Born this Way
  • Bruno Mars, Doo-Wops & Hooligans
  • Rihanna, Loud

Will Win

  • Adele, 21 - Dan, Kevin, Ben, Tara, Sam
  • Foo Fighters, Wasting Light
  • Lady Gaga, Born this Way
  • Bruno Mars, Doo-Wops & Hooligans
  • Rihanna, Loud

Ben: Adele made some of the best and most memorable music of the year, and met with across-the-board critical and commercial success, so it’s hardly a stretch to say that she should and will emerge victorious here.

Tara: I don’t often agree with Bob Lefsetz, but his case for why 21 has resonated so well is spot on: “music trumps everything.” How true, and how refreshing that an album that embraced the hell out of this theme made such a commercial splash.

Sam: Lady Gaga is the only one of the nominees who can rival her for publicity in 2011, but Adele’s record sales should put her over the top. Oh, and it was a great record — not that that means anything where Grammy voters are concerned.

Dan: It helps that this is an especially lazy pool of nominees. 21 is certainly a strong album and a commercial landmark, but I do wish something like Kanye’s My Beautiful Dark Twisted Fantasy were here to help hold up the bar.

Kevin:  Adele made the best album by a wide margin.

Record of the Year

Should Win

  • Adele, “Rolling in the Deep” -  Dan, Kevin, Ben, Tara, Sam 
  • Bon Iver, “Holocene”
  • Bruno Mars, “Grenade”
  • Mumford & Sons, “The Cave”
  • Katy Perry, “Firework”

Will Win

  • Adele, “Rolling in the Deep” -  Dan, Kevin, Ben, Tara, Sam
  • Bon Iver, “Holocene”
  • Bruno Mars, “Grenade”
  • Mumford & Sons, “The Cave”
  • Katy Perry, “Firework”

Ben: The dramatic build-up nature, the simmering intensity, the all-guns-blazing chorus…“Rolling In the Deep” is all but untouchable.

Tara: As rousing a Top 40 hit as we’ve heard in years. I think we all know Adele will sweep.

Sam: I’m a Mumford & Sons fan, but it’s hard to top “Rolling in the Deep.” Anyone who votes for a Katy Perry song in this category should lose their Grammy voting rights permanently.

Dan: Long after it became overplayed, it was still more refreshing to me than everything else on the radio.

Kevin:  Adele cut through the hype by being the best singer and the best songwriter.  Amazing, isn’t it?

Song of the Year

Should Win
  • “All of the Lights” – Jeff Bhasker, Malik Jones, Warren Trotter & Kanye West - Dan
  • “The Cave” – Ted Dwane, Ben Lovett, Marcus Mumford & Country Winston
  • “Grenade” – Brody Brown, Claude Kelly, Philip Lawrence, Ari Levine, Bruno Mars & Andrew Wyatt
  • “Holocene” – Justin Vernon
  • “Rolling in the Deep” – Adele Adkins & Paul Epworth – Kevin, Ben, Tara

Will Win

  • “All of the Lights” – Jeff Bhasker, Malik Jones, Warren Trotter & Kanye West
  • “The Cave” – Ted Dwane, Ben Lovett, Marcus Mumford & Country Winston
  • “Grenade” – Brody Brown, Claude Kelly, Philip Lawrence, Ari Levine, Bruno Mars & Andrew Wyatt
  • “Holocene” – Justin Vernon
  • “Rolling in the Deep” – Adele Adkins & Paul Epworth - Dan, Kevin, Ben, Tara

Tara: “Rolling in the Deep” shines more as a record than as a composition, but it’s still memorable enough to nab this award, and I think it will.

Dan: Here’s where I’d love to see some variation. “All of the Lights” is a poetic, layered micro-drama. Plus, from a songwriting standpoint, I’ve never fully gotten over how “Rolling in the Deep” cribs its chorus from Gnarls Barkley’s “Crazy.”

Kevin:  The British slang that the song is built around doesn’t stop “Rolling” from being the most universal of the five compositions. 

Best New Artist

Should Win

  • The Band Perry - Sam
  • Bon Iver
  • J. Cole – Tara
  • Nicki Minaj – Dan, Kevin
  • Skrillex

Will Win

  • The Band Perry – Sam
  • Bon Iver – Dan, Kevin, Tara
  • J. Cole
  • Nicki Minaj
  • Skrillex

Tara: Bon Iver fits the Grammy mold the best. Personally, I’m not married to any of these acts, but I guess J. Cole piques my interest the most right now. This is totally one of those picks I’m going to regret in six months…

Sam: I think this one could be an upset win for the country world. “If I Die Young” was such an unexpected crossover hit, and I think it had more resonance than most other singles from the eligibility period. Plus the Band Perry is cuter than a basket full of puppies, which can only help them.

Dan: I think Bon Iver is the most fully realized act, and predict the band’s Song and Record nods will tip Grammy voters to vote for them like Adele’s did a few years ago. But Minaj’s potential excites me the most, and I had “Super Bass” on loop last year.

Kevin:  Minaj is the most refreshing of the five, though Bon Iver’s the most Grammy-friendly.

Best Country Solo Performance 

Should Win

  • Jason Aldean, “Dirt Road Anthem”
  • Martina McBride, “I’m Gonna Love You Through It”
  • Blake Shelton, “Honey Bee”
  • Taylor Swift, “Mean” - Dan, Kevin, Jonathan, Ben, Tara, Leeann, Sam
  • Carrie Underwood, “Mama’s Song”

Will Win

  • Jason Aldean, “Dirt Road Anthem” – Sam
  • Martina McBride, “I’m Gonna Love You Through It”
  • Blake Shelton, “Honey Bee”
  • Taylor Swift, “Mean” - Dan, Kevin, Jonathan, Ben, Tara, Leeann
  • Carrie Underwood, “Mama’s Song”

Ben: Swift outclasses the competition by miles.

Jonathan: A depressing line-up here, really. Swift’s single and performance are far and away the strongest of the five nominees, but she didn’t land the general field nominations that many people were expecting her to receive, so I do wonder if her support runs as deep this year as it did during the Fearless juggernaut. If she loses this one, I think it will be to the red-hot-but-I-don’t-get-it-at-all Aldean.

Tara: Embarrassing line-up. “Mean” is the only one that even comes close to Grammy worthy. I think Swift still has the voters on her side, but I could also see Aldean edging her out.

Sam: “Honey Bee?” “Dirt Road Anthem?” Really, Grammy voters? I guess we should be lucky they managed to put one good song in the category, even if it was probably an accident. However, I think voters are going to take a year off on the Swift love and give it to Aldean, because it’s the least country-sounding song in the category.

Dan: I could see Shelton’s familiarity prompting a win here, but suspect Grammy voters are still in Swift’s corner.

Kevin:  They should just make the genre categories line up perfectly with the big three. This is really a race for Country Record of the Year anyway.  Swift’s entry is the best.

Leeann: All of the songs on this are vanilla except for the Swift song, both in lyrics and execution. This is the inarguable standout song.

Best Country Duo / Group Performance

Should Win

  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
  • Kenny Chesney with Grace Potter, “You and Tequila” – Kevin, Leeann
  • The Civil Wars, “Barton Hollow” -  Dan, Jonathan, Ben, Tara, Sam
  • Thompson Square, “Are You Gonna Kiss Me or Not”

Will Win

  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” -  Dan, Jonathan, Ben, Tara, Leeann, Sam
  • Kenny Chesney with Grace Potter, “You and Tequila”
  • The Civil Wars, “Barton Hollow” – Kevin
  • Thompson Square, “Are You Gonna Kiss Me or Not”

Ben: It’s a super tough call for me to choose between The Civil Wars and Chesney and Potter.  As much as I adore “You and Tequila,” I’m finally settling on The Civil Wars as my pick.  However, I expect that Aldean and Clarkson will likely triumph over both.

Jonathan: Had the Civil Wars scored the Best New Artist nomination that they seemed primed for, I would be more bullish on their chances here. They’re still the only of the four nominees I’d even consider voting for, but Clarkson is the only proven Grammy commodity in this lot, and this is probably the least credibility-straining place to recognize Aldean.

Tara: Confession: I don’t really see the sparkle that others see in “You and Tequila.” The swampy “Barton Hollow” has my heart, but I think Aldean & Clarkson will have the Grammy voters’ hearts. And I’m always OK with a little K. Clarkson love.

Sam: “Barton Hollow” kicks the ass of every other song on the list, including the excellent Chesney/Potter collaboration, and if Grammy voters actually listened to the songs they vote for, it would probably win. However, the Aldean/Clarkson screamfest has the benefit of Kelly Clarkson’s name recognition and Aldean’s current popularity.

Dan: The Civil Wars wail like mad dogs on their track. But Aldean and Clarkson are both having a moment right now.

Kevin:  The Civil Wars seem like Grammy catnip.

Leeann: My vote goes for the Chesney/Potter collaboration or The Civil Wars song, but I won’t be surprised if it goes to the powerhouse duet of Aldean and Clarkson based on crossover appeal. I hope, however, that  it turns out that I’m not giving the Grammy voters enough credit.

Best Country Song

Should Win

  • “Are You Gonna Kiss Me or Not” – Jim Collins & David Lee Murphy
  • “God Gave Me You” – Dave Barnes
  • “Just Fishin’” – Casey Beathard, Monty Criswell & Ed Hill
  • “Mean” – Taylor Swift -  Dan, Ben, Tara, Sam
  • “Threaten Me With Heaven” – Vince Gill, Amy Grant, Will Owsley & Dillon O’Brian -  Kevin, Jonathan, Leeann
  • “You and Tequila” – Matraca Berg & Deana Carter

Will Win

  • “Are You Gonna Kiss Me or Not” – Jim Collins & David Lee Murphy
  • “God Gave Me You” – Dave Barnes
  • “Just Fishin’” – Casey Beathard, Monty Criswell & Ed Hill
  • “Mean” – Taylor Swift -  Dan, Kevin, Jonathan, Ben, Tara, Leeann
  • “Threaten Me With Heaven” – Vince Gill, Amy Grant, Will Owsley & Dillon O’Brian – Sam
  • “You and Tequila” – Matraca Berg & Deana Carter

Ben: Gill’s “Threaten Me with Heaven” is mature and beautifully written, but ultimately, my heart still belongs to “Mean.”

Jonathan: Gill has a real shot at this because it’s the Grammys so Gill always has a real shot at anything he’s nominated for. He’d be a worthy winner here, too, as would “You and Tequila” or the more likely winner, “Mean.”

Tara: I wrestle with this one, but I think the freshness of “Mean” gives it an edge over Gill’s track for me. Gill could easily take this given he’s Grammy royalty, but I’ll predict the voters will stick with Swift.

Sam: It’s Vince Gill in a Grammy category. That’s why.

Dan: I’d be happy with any of those last three. Honestly, I even half-like “Just Fishin’” and “God Gave Me You” as songs.

Kevin:  Can’t believe that Gill’s composition got a nod.  I like Swift’s record the most, but as a song, “Threaten Me With Heaven” is jaw-droppingly good.

Leeann: I’d love to see Vince win another grammy, but I won’t be surprised  or too disappointed if Swift takes this one.

Best Country Album

Should Win

  • Jason Aldean, My Kinda Party
  • Eric Church, Chief  - Jonathan, Tara, Leeann
  • Lady Antebellum, Own the Night
  • Blake Shelton, Red River Blue
  • George Strait, Here For a Good Time - Kevin, Ben
  • Taylor Swift, Speak Now – Sam

Will Win

  • Jason Aldean, My Kinda Party – Dan
  • Eric Church, Chief
  • Lady Antebellum, Own the Night - Tara
  • Blake Shelton, Red River Blue
  • George Strait, Here For a Good Time
  • Taylor Swift, Speak Now Kevin, Jonathan, Ben, Leeann, Sam

Ben: Church, Strait, and Swift have the three best albums, and of those three, Strait’s Here for a Good Time is the most fully realized, but I would expect that Swift’s crossover appeal and high sales numbers will lead voters to gravitate toward Speak Now.

Jonathan: The nomination for Lady Antebellum’s godawful album represents Grammy voting at its laziest. I don’t care how many people bought Own the Night: It’s terrible and, at some point, the over-rewarding of Lady A for their aggressively middlebrow, banal music has to stop. Church’s album would get my vote over Strait’s by just a hair and, even though I would’ve nominated it for Best Pop Album instead, Speak Now is Swift’s strongest set to date, so I won’t complain too loudly when she wins here.

Tara: Chief packs a killer, audacious punch…but I have this sinking feeling that Lady A will pull a repeat in this category. Look – I was (and probably still am) Lady A’s biggest advocate at Country Universe, but I can’t get behind the overblown success of their degenerating music. How will they ever be motivated to live up to the massive potential shown on Lady Antebellum if we keep rewarding them like this

Sam: Quality-wise, Speak Now edges out Chief, though I think Chief deserves some recognition for its ambition. Speak Now was a commercial and an artistic triumph, though the only concern is that it was released so long ago that its impact may have faded from the voters’ memories. That might open the door for Lady Antebellum to win, which would be a shame. While I actually kind of liked Own the Night, there are three albums better than it in the category.

Kevin: Strait just keeps getting better lately.  I think he’d win if it wasn’t for category crossover votes for Swift.

Leeann: I wish I cared about this category more this year than I actually do. It’s likely that either Strait or Swift will win the award, but I think Church’s album is the most interesting.

Best Americana Album

Should Win

  • Linda Chorney, Emotional Jukebox
  • Ry Cooder, Pull Up Some Dust and Sit Down
  • Emmylou Harris, Hard Bargain - Jonathan
  • Levon Helm, Ramble at the Ryman
  • Lucinda Williams, Blessed

Will Win

  • Linda Chorney, Emotional Jukebox
  • Ry Cooder, Pull Up Some Dust and Sit Down
  • Emmylou Harris, Hard Bargain
  • Levon Helm, Ramble at the Ryman – Dan
  • Lucinda Williams, Blessed  - Jonathan, Ben, Sam

Jonathan: Of the four veterans nominated, only Harris’ album is anywhere close to her best work, but that rarely matters much. The vitriol directed at Chorney and her exploiting of NARAS’s new social networking initiatives to garner her nomination has reflected very, very poorly on a whole lot of Americana fans and has perpetuated an ugly “us-versus-them” attitude, but there’s no dressing up how poor Chorney’s album actually is, either. But she’s also the only one of the five nominees that anyone has been talking about during the entirety of the voting period… I give the edge to Williams on sales stats alone, but there’s really no frontrunner here.

Sam: Should win: Hayes Carll, KMAG YOYO and other American Stories (yeah, I know it wasn’t nominated). I actually kind of hope that Linda Chorney wins. For one thing, the outcry would be phenomenal. For another, it might shed some light on just how the voting is done, and is there a better way to do it. Do the voters know what Americana music is? Did they listen to any of the albums? I have nothing against any of the nominees, but Hayes Carll released one of the best albums of the year and had no chance in competing against legends like Emmylou, Ry Cooder and Levon Helm. Of the four legitimate nominees, Williams has gone the longest between Grammy wins, so maybe it’s her turn.

Dan: Levon has won for his last two albums. This one is a live set, so Lucinda could definitely unseat him, but still.

Best Bluegrass Album

Should Win

  • Alison Krauss and Union Station, Paper Airplane
  • Jim Lauderdale, Reason and Rhyme
  • Steve Martin and the Steep Canyon Rangers, Rare Bird Alert – Sam
  • The Del McCoury Band, Old Memories: The Songs of Bill Monroe
  • Ralph Stanley, A Mother’s Prayer
  • Chris Thile and Michael Staves, Sleep With One Eye Open – Jonathan

Will Win

  • Alison Krauss and Union Station, Paper Airplane - Jonathan, Dan, Ben, Tara, Sam
  • Jim Lauderdale, Reason and Rhyme
  • Steve Martin and the Steep Canyon Rangers, Rare Bird Alert
  • The Del McCoury Band, Old Memories: The Songs of Bill Monroe
  • Ralph Stanley, A Mother’s Prayer
  • Chris Thile and Michael Staves, Sleep With One Eye Open

Ben: I have no rationale for who should win, but I think we all know who will.

Jonathan: I can’t think of anything more foolhardy than betting against Alison Krauss at the Grammys.

Tara: What Ben said.

Sam: Honestly, I thought Krauss’ Paper Airplane was kind of tepid, while Rare Bird Alert was charming and energetic. Still, Krauss is the Jimmy Sturr of the Grammy bluegrass categories (all the polka fans should get that reference), so unless the voters decide to give Martin a lifetime achievement award of sorts, she’s got this one in the bag.

Dan: Steve Martin’s got a chance, but…

Best Folk Album

Should Win

  • The Civil Wars, Barton Hollow – Leeann
  • Steve Earle, I’ll Never Get Out of This World Alive - Jonathan, Sam
  • Fleet Foxes, Hopelessness Blues
  • Eddie Vedder, Ukelele Songs
  • Gillian Welch, The Harrow & The Harvest

Will Win

  • The Civil Wars, Barton Hollow - Jonathan, Ben
  • Steve Earle, I’ll Never Get Out of This World Alive - Dan
  • Fleet Foxes, Hopelessness Blues
  • Eddie Vedder, Ukelele Songs - Leeann, Sam
  • Gillian Welch, The Harrow & The Harvest

Ben: If my prediction of an Aldean-Clarkson victory for Duo/Group Performance comes true, I would expect that this is where voters will recognize The Civil Wars.

Jonathan: If NARAS were really committed to the idea of reducing the number of categories, they’d merge the Americana and Folk Album categories with Best Country Album and, considering how fast and loose they’re already playing with genre tags, they probably should do just that and let the chips fall where they may. Welch’s album is the only one of the five that really scans as “folk” music in any traditional sense, so who wins here will depend on whether or not voters are looking for something more traditional or contemporary. I’m guessing it’s the latter case, to the benefit of the Civil Wars.

Sam: Steve Earle released his best album in years with I’ll Never Get Out of This World Alive. The love songs were tender, the topical songs were sharp and insightful, and there weren’t any love songs about Condoleezza Rice. Eddie Vedder, on the other hand, is in Pearl Jam, so clearly he’s the odds-on favorite. Actually, Ukelele Songs got some pretty good reviews, and if Vedder’s vocals didn’t remind me so much of Bob Dylan’s current voice crossed with an injured goat, I might be more inclined to like it.

Dan: I can imagine a Fleet Foxes or Civil Wars win, but in the end, I’m still guessing Earle, the proven Grammy favorite.

Leeann: It’s sad that I care about this category far more than the Country Album category this year. I love The Civil Wars album the most, but the Welch, Vedder and Earl albums are great too. I’ll be happy to see any of them win, but I have a strange feeling that Vedder will take it.

Top 40 Singles of 2011, Part Four: #10-#1

Thursday, January 5th, 2012

The countdown concludes. Scroll down to the bottom to hear samples of each song and to share your comments.

Top 40 Singles of 2011, Part Four: #10-#1

#10
Love Done Gone
Billy Currington

Individual Rankings: #1 – Leeann; #1 – Jonathan; #13 – Tara

While many might get caught up in Billy Currington’s smoldering love songs, he’s really the most charming when he loosens up and has a little fun. While “Love Done Gone” is technically about lost love, Currington’s breezy performance along with the festive horns makes it seem more freeing than heartbreaking. As a result, the song turns out to be his most compelling since “Good Directions.” – Leeann Ward

#9
Amen
Edens Edge

Individual Rankings: #4 – Tara; #6 – Dan; #9 – Ben; #12 – Kevin

A 90′s-throwback gem, “Amen” shimmers in a different way than most of the songs on this list. There’s no striking life lesson or clever turn of phrase – just a fresh hook and an earnest, slightly unconventional love story between a preacher’s son and a farmer’s daughter. But there’s magic in its recipe: from the charmingly organic arrangement to the endearingly spirited performance to the adorably written story line – “whooped and hollered” tops my favorite phrases of 2011 – “Amen” is the sweetest package sent to country radio in years. – Tara Seetharam

#8
Sparks Fly
Taylor Swift

Individual Rankings: #2 – Jonathan; #5 – Dan; #5 – Tara; #19 – Ben

Of all of the many, many things “Sparks Fly” proves that Taylor Swift understands, perhaps the most important is this: If you’re going to order someone to, “Drop everything now,” you’d better make sure they have reasons to want to. – Jonathan Keefe

#7
Threaten Me With Heaven
Vince Gill

Individual Rankings: #3 – Kevin; #7 – Leeann; #9 – Tara; #13 – Dan; #13 – Jonathan

Can anyone be this strong when facing down their rapidly approaching death? Perhaps only in song. For those who can pull this off in real life, their faith blows away those who can merely move mountains. – Kevin John Coyne

#6
Barton Hollow
The Civil Wars

Individual Rankings: #3 – Jonathan; #4 – Sam; #7 – Tara; #8 – Leeann; #8 – Dan

“Barton Hollow” may be a song about a dead man walking, but, with its stomping percussion line and force-of-nature vocal performances, it plays more like a determined march right to the front-line of a war zone. If the Devil’s going to follow the Civil Wars wherever they go, they sound more than ready to throw down. – Jonathan Keefe

#5
Colder Weather
Zac Brown Band

Individual Rankings: #1 – Tara; #6 – Jonathan; #7 – Sam; #9 – Leeann; #11 – Ben; #15 – Kevin

A piano, a wanderer’s tale and killer vocals are the bones of this song– none of which are unique to country music. And yet, “Colder Weather” pleads like the best country songs, hurts like the loneliest of country stories. It serves as an elegant reminder that while country music is sometimes marked by a fiddly sparkle, it can also turn up in the form of pure emotion – and how Brown emotes. His performance is both soulful and skillful, embodying the rambler’s spectrum of emotions with chilling accuracy – longing, regret, defeat, hunger – right down to the final line that rings hauntingly hollow: “It’s a shame about the weather / But I know soon we’ll be together / And I can’t wait til then.” – Tara Seetharam

#4
You and Tequila
Kenny Chesney with Grace Potter

Individual Rankings: #2 – Ben; #3 – Leeann; #3 – Dan; #9 – Kevin; #10 – Tara; #17 – Sam

“You and Tequila” is a great reminder of just how good Kenny Chesney can be when he’s not releasing the same song over and over again. In classic Matraca Berg fashion, “You and Tequila” is a deftly constructed lyric that displays intelligence and self-awareness, while the beautiful acoustic arrangement makes “Tequila” easily one of the year’s finest and most memorable singles. Grace Potter’s sweet harmony adds a delicious icing to the cake.- Ben Foster

#3
Hell on Heels
Pistol Annies

Individual Rankings: #2 – Leeann; #2 – Tara;  #4 – Jonathan; #8 – Kevin; #11 – Dan; #13 – Ben

For those of us who think that Miranda Lambert is one of the bright spots in an otherwise bleak mainstream country landscape these days, could there have been much more exciting news than that she would be hooking up with Ashley Monroe, somebody that we at Country Universe have previously lamented going under the radar, to form a trio with songwriter Angaleena Presley? Happily, the prospect of such an exciting trio did not disappoint, as the Pistol Annies turned out to be the most refreshing act of the year with any chance of mainstream success.

Their debut single, “Hell on Heels,” signaled that the group were a force to be reckoned with, both in attitude and artistry. From the beginning swampy guitar riffs, it’s obvious that the characters in this song are going to live up to the fiery title. Furthermore, the Annies turn in a performance that is so eerily calm that it effectively creates the intended aggression of the story. As a result, “Hell on Heels” is one of the most unique and refreshing singles to get anywhere near a radio playlist in 2011. – Leeann Ward

#2
Cost of Livin’
Ronnie Dunn

Individual Rankings: #1 – Dan; #3 – Ben; #6 – Tara; #7 – Kevin; #7 – Jonathan; #9 – Sam; #12 – Leeann

The toll of a corrupt, abusive economy, encapsulated in one man’s fractured personal account. If that sounds a bit like an “I am the 99%” speech, it’s a testament to how well “Cost of Livin’” – begun in 2008, long before mass havoc finally led to mass protest – found the pulse of present-day America. The brilliant choice to frame the song as a job interview allows it to explore both why Dunn’s character deserves the work he and his family needs, and why he likely won’t get it.

In short, the most frighteningly real song of 2011. – Dan Milliken

#1
Mean
Taylor Swift

Individual Rankings: #1 – Kevin; #1 – Ben; #3 – Tara; #4 – Dan; #8 – Sam; #10 – Leeann; #17 – Jonathan

You know what I love about Taylor Swift? She has a real knack for tapping into emotions and experiences that are personal to her, but conveying them in such a way that any listener can see it as his or her own story set to music. The deeper and more personal she gets, the more we feel it as listeners.

Some might write off “Mean” as a cheap comeback to the oft-heard criticism that “Taylor Swift can’t sing,” but to do so is to miss the full scope of feelings that the song addresses. It speaks to anyone who’s been insulted or disrespected by those who cross the line between constructive criticism and plain cruelty, doing so with some of Swift’s most raw and honest lyrics to date.

It all makes for a most delicious slice of musical catharsis. In addition to being one of the flat-out best lyrics Swift has written, the song features a Shania Twain-esque singalong melody, not to mention one of the coolest and countriest productions of any mainstream release this year. In multiple aspects, “Mean” is clearly the work of an artist who was willing to step outside the box, making it a standout achievement for Swift, and a definite standout moment on radio playlists.

I can see a few jaws dropping at this somewhat divisive selection, but we make no apologies for it. A case could be made for a number of other worthy songs taking this top spot, but for me there’s just no getting round the fact that “Mean” is the one 2011 single release that I will be replaying the most in years to come. Thus, it’s a great pleasure to name “Mean” our top single of 2011. – Ben Foster

Previous: Top 40 Singles of 2011, Part Three: #20-#11

Top 40 Singles of 2011, Part Two: #30-#21

Monday, January 2nd, 2012

The countdown continues.  Scroll down to the bottom to hear samples of each song and to share your comments!

Top 40 Singles of 2011, Part Two: #30-#21

#30
Revelation Road
Shelby Lynne

Individual Rankings: #5 – Jonathan

It’s not for nothing that Tammy Wynette once claimed that Shelby Lynne had the best voice in country music, but, as Lynne has become increasingly subdued in the latter half of her career, she’s rarely explored the full range of her vocal talent. So when she unleashes that voice for the first time in a decade during the coda of “Revelation Road,” it may not be revelatory, but it sure is a most welcome return. – Jonathan Keefe

#29
My Name is Money
Sonia Leigh

Individual Rankings: Ben – #4

A clever lyrical personification of the Almighty Dollar. Sonia Leigh tears into the song with her gritty, powerful vocals while the snappy, genre-blending arrangement gives the single added spunk and sass. “My Name Is Money” is a delicious sonic confection from one of the 2011’s most dynamic and promising new talents. – Ben Foster

#28
God Only Knows
Natalie Maines

Individual Rankings: Kevin – #11; Tara – #14

Why? Because she can sing, and she nails a song that’s great to begin with. It’s not quite Lorrie Morgan singing “Don’t Worry Baby”, but it’s close. – Kevin John Coyne

#27
Codeine
Jason Isbell & The 400 Unit

Individual Rankings: #3 – Sam

One of the unlikeliest catchy songs of the year came from Jason Isbell. Sure, the content of the song is heartbreaking, but try listening to it and not singing along with “One of my friends is taking her in and giving her codeine.”- Sam Gazdziak

#26
Ghost on the Canvas
Glen Campbell

Individual Rankings: #10 – Kevin; #12 – Dan

Staring down his mortality, Campbell imparts a final message: Find me again in what I’ve left behind. In Campbell’s case – or Van Gogh’s, whose Wheatfield with Crows is referenced here – the remnants may be works of art. Others will have different sorts of canvases. One thing is universal: though most of the world will never see them, the ghosts will emerge for those who need them. – Dan Milliken

#25
Bleed Red
Ronnie Dunn

Individual Rankings: #5 – Kevin; #17 – Dan

Why? Because he can sing, and he sounds rejuvenated to be doing it as a solo artist. It’s a great song, but in lesser hands, it would’ve been sappy. – Kevin John Coyne

#24
The Cave
Mumford & Sons

Individual Rankings: #5- Sam; #16 – Leeann

Pop radio has managed to incorporate Lady Antebellum and Taylor Swift singles, to give just a couple examples. So would it kill country radio to add Mumford & Sons to the airwaves? Between Marcus Mumford’s hopeful lyrics (“But I will hold on hope/And I won’t let you choke/On the noose around your neck”) and Country Winston’s banjo, this song begged to be a crossover hit. – Sam Gazdziak

#23
Here For a Good Time
George Strait

Individual Rankings: #11 – Jonathan; #12 – Tara; #20 – Kevin; #20 – Ben

Very few artists could turn a borderline-trite hook into an invigorating anthem fit for the dance hall. Even fewer could do it so accessibly yet commandingly that you want to drop what you’re doing and have a Moonshine in his honor. Bottoms up, King George. – Tara Seetharam

#22
Thunder on the Mountain
Wanda Jackson

Individual Rankings: #8 – Jonathan; #16 – Kevin; #17 – Tara

When Wanda Jackson sings, “I’m wonderin’ where in the world could Jerry Lee be,” on her fantastic cover of Bob Dylan’s “Thunder on the Mountain,” Jack White’s on-point rockabilly arrangement makes it sound like Jerry Lee Lewis himself is playing in Jackson’s ace backing band. Though her voice may have lost some of its punch, Jackson’s delivery on “Thunder on the Mountain” finds the Queen of Rockabilly as feisty as ever. – Jonathan Keefe

#21
You Gonna Fly
Keith Urban

Individual Rankings: #8 – Tara; #9 – Jonathan

Urban strips the title phrase of all its pomposity but retains its punch with an assured, coolly confident performance. The song’s kicker, though, is the way it handles love’s ability to “fly us” to another plane, spiritually and emotionally, with matter-of-fact breeziness. “One, two, three / Baby don’t think twice / Just like that you got a brand new life” – how refreshingly uncomplicated. – Tara Seetharam

Next: Top 40 Singles of 2011, Part Three: #20-11

Previous: Top 40 Singles of 2011, Part One: #40-#31

Top 40 Singles of 2011, Part One: #40-#31

Monday, January 2nd, 2012

For nine decades and counting, country music has been defined by the single, with only the format and definition changing over time.

Today, a single could be any one of the following: a CD sent to radio for airplay; a digital download released in advance of an album; a music video released to online websites and dwindling television outlets; and in a lovely throwback, a seven inch vinyl single sold in the indie record stores that have managed to outlast the chain stores that once threatened their existence.

Seven Country Universe editors and contributors each submitted their twenty favorite singles of the year.  59 different singles made the cut, and over the next four days, we’ll share with you the top forty.   You can listen to a sample from each song by scrolling down to the bottom of the post.

Top 40 Singles of 2011, Part One: #40-#31

#40
The Road
Emmylou Harris

Individual Rankings: #18 – Kevin; #18 – Ben; #20 – Jonathan

A musical expression of gratitude from the incomparable Emmylou Harris to her late musical mentor Gram Parsons. Through her lyric and vocal, Harris conveys a wide array of emotions – obviously sadness, along with nostalgia for times past, wonderment and uncertainty, as well as determination to persevere in spite of heartache, while also highlighting the invaluable role of music in coping with a devastating loss.

Above all else, however, “The Road” is a song of thankfulness for having had such a friend in the first place, even if for only a brief time. – Ben Foster

#39
Shut Up Train
Little Big Town

Individual Rankings: Kevin – #13

Far from the first country song to build a train metaphor around a heartache, this one is distinguished by a strong vocal performance and the creative approach of having the protagonist talk directly to the train. – Kevin John Coyne

#38
Let it Rain
David Nail featuring Sarah Buxton

Individual Rankings: Sam – #15; Dan – #19

Nail’s moody streak continues, this time with a ringing cheater’s lament. He’s so appalled at himself that he calls on the heavens to rain down judgment. But it’s Buxton who strikes the gavel in the end, as her voice shreds with the pain of a woman whose world will never be the same. – Dan Milliken

#37
Ours
Taylor Swift

Individual Rankings: #12 – Sam

The pop-country version of Taylor Swift is a bona fide superstar. However, when she strips down the production and shows off her quieter, folksy side like she does on “Ours,” she really shines. Based on the quality of her past singles “Ours” and “Mine,” she’ll have a real winner if she ever gets around to writing “Yours.” – Sam Gazdziak

#36
Shanghai Cigarettes
Caitlin Rose

Individual Rankings: #12 – Jonathan

It’s often hard to separate Caitlin Rose’s music from her Manic Pixie Dream Girl persona– that she sings like Zooey Deschanel with a far better sense of pitch doesn’t help, either– but “Shanghai Cigarettes” makes it clear that she learned a lot about songcraft from her mother, frequent Taylor Swift collaborator Liz Rose. – Jonathan Keefe

#35
You
Chris Young

Individual Rankings: #11 – Tara

Two parts neo-traditional charm, one part that voice and a dash of breezy sensuality. Goes down smoother than anything since James Otto rode the airwaves. More, please. – Tara Seetharam

#34
Fixin’ to Die
G. Love

Individual Rankings: #14 – Jonathan; #19 – Dan

One of the elements that distinguishes contemporary country from traditional genre forms is a heavy use of percussion, and G. Love ups the ante in that regard on “Fixin’ to Die.” By marrying a straightforward acoustic blues arrangement to a rhythm section lifted almost entirely from J-Kwon’s “Tipsy,” G. Love effectively thumbs his nose at the idea of a rural vs urban divide. – Jonathan Keefe

#33
Head Full of Doubt/Road Full of Promise
The Avett Brothers

Individual Rankings: #10 – Sam

The Avetts’ I and Love and You was one of the best albums of 2010, and this song was one of its highlights. For a band that can deliver some raucus punk-bluegrass tunes, they can also put together hauntingly pretty songs too.- Sam Gazdziak

#32
Barefoot Blue Jean Night
Jake Owen

Individual Rankings: #7 – Dan

Contrived, utopian visions of Southern partying are practically an entire country sub-genre now. “Barefoot” checks all the formulaic boxes, but for once the formula’s impossible details (“the girls are always hot and the beer is ice cold!”) are matched to an equally dreamlike, shimmering production, exposing what a fantasy the whole thing is. You can’t buy the premise, but you grant the underlying escapism.- Dan Milliken

#31
Down by the Water
The Decemberists

Individual Rankings: #11 – Sam; #17 – Leeann

As has been noted, “Down by the Water” seems influenced by an R.E.M. sound. However, the brightly placed harmonica and accordion, along with aggressive background vocals by Gillian Welch, make the melodic composition a memorable song on its own merits. – Leeann Ward

Next:  Top 40 Singles of 2011, Part Two: #30-#21

CU Roundtable Review: Taylor Swift, “Ours”

Saturday, December 10th, 2011

Written by Taylor Swift

Listen:  Ours

Ben Foster:

With the sixth single from Speak Now (which only appears on the deluxe edition), Swift goes for a raw understated style in both production and vocal, and it suits her quite well.  Though regularly criticized for weak vocals, particularly in a live setting, “Ours” is an instance in which Swift is able to work with her vocal imperfections instead of against them.  She turns in a disarmingly compelling performance, such that even the technical imperfections serve to enhance the emotional qualities of the song, as opposed to being a serious liability as in times past.  The treatment allows Swift’s natural authenticity and sincerity instead to be the focus of attention.

By telling a story through easily accessible word pictures – How many of us can’t picture the vacant stares of strangers in an elevator? – the song comes across as an effective musical expression of the comfort of having something special that no one can take away.  In addition, the tastefully restrained production and vocal will make it a pleasant mood-breaker on typically bombastic radio playlists.  For Swift, “Ours” is the latest in a series of very good singles, which only heightens my interest in what her future efforts will bring.

Grade:  B+

Kevin John Coyne:

Sometimes when Taylor Swift is being praised as a great songwriter, it’s a back-handed compliment, as if it’s only being mentioned in comparison to her ability as a singer.  But “Ours” is further evidence that she’s a great songwriter, no qualifiers required.

“People throw rocks at things that shine” is just a great line.  A “Hey, let me go back five seconds and make sure I heard that” great line.

My big thing with Swift has always been that I’m too old to be her target audience, and her vocals aren’t interesting enough to sustain my attention.  But the gap is narrowing, and as she’s getting older, her observations are seeming more astute.

“Ours” is charming, breezy, and sustains my attention.  I don’t see myself hitting repeat in the way that I did with “Mean”, but I’m certainly enjoying it enough to revisit it again.  That’s about as high as my praise gets for country music in 2011.

Grade:  B+

Noah Eaton:

This past March, Taylor Swift added her refreshing perspective to a long line of recent radio songs concerning the issue of bullying and peer-pressure in consequence of embracing ones individuality with “Mean.”

If that was her “Firework”, this is her “Hey There Delilah”.

“Ours”, the fifth single from “Speak Now” (and the first from the Deluxe Edition) showcases a notably more understated production; a slight departure from the defensive posturings and romantic exigency that have peppered most of her back catalog to date.

Much like the aforementioned and unabashedly sincere 2007 Plain White T’s smash, where frontman Tom Higgenson opines in the bridge that their friends would all make fun of them if they attempted to walk across the country to rendezvous, but would just laugh along with them because “none of them have felt this way”…….Swift sheds light on the silence of strangers in the opening verse of “Ours” and asserts, if her love interest was here, they’d “laugh about their vacant stares.”

However, unlike “Hey There Delilah”, which concerns a star-crossed romance spanning a thousand miles and how absence makes the protagonist’s heart grow fonder, “Ours” illustrates a relationship separated not by mile markers, but by life’s obligations and peer pressure. Nowhere is this made more explicit than in the song’s chorus, which features the stand-out interjection: “People throw rocks at things that shine” and that, in effect, life makes love look hard.

Considering how comparatively stripped-down the production of this track is compared to previous outings of hers, it’s curious to see Swift maintaining her defiant pose here and pointing her finger out at naysayers. As cohesive and believable as the lyrics are here, the chorus can’t help but feel underdeveloped and tame, especially since Swift declares that the stakes are high and the water’s rough. The way she mouths those lines with relative ease would lead you to believe it’s actually low tide as she speaks.

Despite the somewhat rushed and dispassionate chorus, Swift maintains here a penchant for construction and conviction that made her previous singles “Sparks Fly” and “Mean” stand-outs as well. There is a keen continuity that ties each of its parts together into one attractive package, with the opening verse implying her time is theirs, before clocking in her hours by the second chorus and exclaiming her love interest is now hers, and finally tying up the loose ends with an effective bridge that reassures him, as she inevitably places her nose to the grindstone again and is pummeled by a barrage of additional peer pressure, that her faith for him is exemplified with this here song.

With the lugubrious winter overcast enshrouding most of the nation presently, “Ours” is certain to resonate with countless anxious lovebirds yearning for reassurance and clarity, and should prove to produce yet another Country radio hit to add to her burgeoning collection. What remains to be seen is whether this can also replicate the success of “Hey There Delilah” on Adult Top 40 and Mainstream Top 40 radio, and deliver her first decisive crossover hit this album cycle……….or if it’ll be subjected to yet another round of vacant stares.

We’ll just have to let the jury decide that, shall we?

Grade:  B+

Jonathan Keefe:

From the first lines of “Ours,” Swift dismisses the points-of-view of anyone outside the limited, insular sphere of her immediate romantic concerns. Thus, when she spends the rest of the song trying to mine dramatic tension from everyone else’s disapproval – which, but for the line about, “Any snide remarks from my father about your tattoos will be ignored,” are far more vague and impersonal than in her best songs – it rings completely hollow. The mixed metaphors and disjointed, non-sequitur statements in the chorus just don’t make me believe that she has any reason to be so defensive about the relationship, and Swift’s believability is one of her best attributes as a artist. With something like “Enchanted” still waiting on Speak Now, “Ours” should’ve remained a for-diehards-only bonus track.

Grade:  C-

Tara Seetharam:

It may not be as evocative as “Sparks Fly” or as fresh as “Mean,” but “Ours” is a solid, graceful way to close out Speak Now. The beauty – or perhaps irony – of Swift’s catalogue is that despite her flawed performances, there isn’t anyone who could sing her material as effectively as she does.  She builds herself into the fabric of “Ours,” literally (“I’ll…give you faith with this song”), emotionally (the subtle laughs) and lyrically (“lip gloss smiles” is signature Swift).

That’s the thing – told by a lesser artist, this story would be obnoxious; told by Swift, it’s deliciously dramatic. She nails the blindly passionate, narrow-minded youthful perspective but does it so charmingly that you forget to be annoyed. And while it’s hard to tell if the drama is warranted, there’s no doubt “people throw rocks at things that shine” is one of the best lines of 2011, as truthful as it is cleverly written.

Grade:  B

Leeann Ward:

Everyone has already said it, but”Ours” is impressively understated in both Taylor Swift’s vocal deliveryand its folky production. The instruments don’t compete with each other and, even better, Swift doesn’t compete with the instruments.  Instead, there is no point in the song where her voice is grating, rather, it is actually quite pleasant  and even softly nuanced throughout the song.

Furthermore,we hear her continue to grow as a songwriter. While it’s still not perfect,there are flashes of near brilliance in lyrics such as “People throw rocks at things that shine” and the vivid depiction of something as typicallymundane as awkward moments in an elevator that make her prefer to take thestairs in the end.

It hasn’t been lip service up to this point from me when I’ve praised Swift’s ability to capture young people’s feelings, even if they are such that I can’t personally relate, but I agree with the others who feel that this song provides solid hope for the growth that so many people have believed she would make as she got older and more mature herself.

The mix of the gentle and satisfying production (save the minor distraction of the moody, plinky piano), a pleasant melody and her best vocals makes for Swift’s strongest song to date.

Grade: B+

Deep Down in 2011

Monday, November 28th, 2011

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.

This same post could’ve been written about  “Nothin’ But the Wheel”, “Believe Me Baby (I Lied)”, “Aces”, “Is It Over Yet”, “I Guess You Had to Be There” or “Standing Knee Deep in a River.”

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.

2011 CMA Awards: Staff Picks and Predictions

Monday, November 7th, 2011

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?)

Song of the Year

Should Win:

  • “Colder Weather” – Zac Brown, Wyatt Durrette, Levi Lowrey & Coy Bowles
  • “Dirt Road Anthem” – Brantley Gilbert & Colt Ford
  • “If I Die Young” – Kimberly Perry – Dan, Tara
  • “Mean” – Taylor Swift - Jonathan, Kevin
  • “You and Tequila” – Matraca Berg & Deana Carter - Ben, Leeann

Will Win:

  • “Colder Weather” – Zac Brown, Wyatt Durrette, Levi Lowrey & Coy Bowles
  • “Dirt Road Anthem” – Brantley Gilbert & Colt Ford
  • “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
  • “Coal Miner’s Daughter” – Loretta Lynn, Sheryl Crow & 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

Will Win:

  • “As She’s Walking Away” – Zac Brown Band featuring Alan Jackson – Kevin, Tara
  • “Coal Miner’s Daughter” – Loretta Lynn, Sheryl Crow & Miranda Lambert
  • “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”

Will Win:

  • Blake Shelton, “Honey Bee” - Ben
  • The Band Perry, “If I Die Young”
  • Taylor Swift, “Mean”
  • Brad Paisley featuring Alabama, “Old Alabama” - Dan, Jonathan, Kevin, Tara
  • 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.

Tara: What Ben and Kevin said.


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