Since its inception, the top honor an artist could be given at the Country Music Association awards is this one: Entertainer of the Year. Originally a revolving door of winners, the winner in early years was often not even nominated the following year. In 1981, Barbara Mandrell became the first artist to win the award twice. Alabama succeeded her with a three year run from 1982-1984. Fourteen years later, Garth Brooks became the first artist two win four times, a feat later matched by Kenny Chesney in 2008.
Here’s a look back at the award from the very beginning, along with some facts and feats about the category and its nominees.
1967
Bill Anderson
Eddy Arnold
Merle Haggard
Sonny James
Buck Owens
One year after being inducted into the Country Music Hall of Fame, Eddy Arnold was named the very first Entertainer of the Year at the inaugural CMA awards in 1967. Don’t assume it was a sympathy vote. Arnold had three #1 hits in the twelve months leading up to the ceremony, as he was in the middle of his impressive mid-sixties comeback, a period best defined by the 1965 classic, “Make the World Go Away.” He remains the only member of the Hall of Fame to win this award after being inducted.
1968
Eddy Arnold
Glen Campbell
Johnny Cash
Merle Haggard
Charley Pride
Glen Campbell was a big awards favorite in 1968, with “By the Time I Get to Phoenix” and “Gentle On My Mind” both dominating the Grammy awards earlier that year. His win in this category foreshadowed bigger things, as he soon became a network variety star, while also scoring major country and pop hits with “Wichita Lineman” and “Galveston.”
1969
Glen Campbell
Johnny Cash
Roy Clark
Merle Haggard
Charley Pride
Johnny Cash’s career was rejuvenated on the strength of two live prison albums, the latter of which produced the massive Shel Silverstein-penned smash, “A Boy Named Sue.” His victory came in a year that marked the beginning of his network variety show and had him dominating the country singles charts, spending ten combined weeks at #1 with “Sue” and “Daddy Sang Bass.”
1970
Glen Campbell
Johnny Cash
Roy Clark
Merle Haggard
Charley Pride
Merle Haggard was a mainstay in this category from the beginning, nominated in each of the first seven years of the CMA Awards. His victory in 1970 coincided with his commercial peak, with signature hits “The Fightin’ Side of Me” and “Okie From Muskogee” helping him secure his only win in this category.
1971
Merle Haggard
Loretta Lynn
Charley Pride
Jerry Reed
Conway Twitty
The last of four consecutive years where the Male Vocalist winner matched the Entertainer winner, Charley Pride went home with both awards in 1971. A winner on his fourth nomination, his popularity skyrocketed upon the release of “Kiss an Angel Good Morning,” which was climbing the charts at the time of the awards ceremony.
1972
Merle Haggard
Freddie Hart
Loretta Lynn
Charley Pride
Jerry Reed
Instead of attending the awards show, Loretta Lynn’s husband Mooney went hunting. He didn’t want to watch her lose, but he missed watching history unfold as she became the first woman to win Entertainer of the Year. Lynn’s victory came on the heels of both solo hits like “One’s on the Way” and her popular duets with Conway Twitty.
1973
Roy Clark
Merle Haggard
Tom T. Hall
Loretta Lynn
Charley Pride
Today he’s best known for Hee Haw, the country music variety show that he co-hosted, and it’s no coincidence that he won while the show was in its prime. Still, Clark is also one of country’s most admired legends, and his legacy goes far beyond the television show that showcased his extensive musical and comedic talents.
1974
Roy Clark
Mac Davis
Loretta Lynn
Olivia Newton-John
Charlie Rich
The massive success of “The Most Beautiful Girl” and “Behind Closed Doors” helped Charlie Rich win this award. It was a long time coming, as Rich toiled in obscurity despite critical acclaim for his work. He would continue to score big hits on the country and pop charts over the next couple of years, at one point charting hits on different labels at the same time.
1975
John Denver
Waylon Jennings
Loretta Lynn
Ronnie Milsap
Conway Twitty
John Denver’s victory in this race led to the most infamous moment in CMA history. Though he claimed it was due to medication later on, presenter Charlie Rich seemed to be making a furious statement against the pop crossover artists dominating country music when he opened the envelope, read it, and then lit a cigarette lighter and burned the envelope. The paper went up in flames as he derisively snarled the winner’s name, “My friend, Mister John Denver.” Poor John, accepting via satellite, was clueless to what was going on at the Opry house, and graciously accepted his award.
1976
Waylon Jennings
Ronnie Milsap
Willie Nelson
Dolly Parton
Mel Tillis
This 2007 Hall of Fame inductee won this award just as he was changing labels. Tillis first gained notoriety for his remarkable songwriting talent, but eventually he was scoring enough hits to earn a place in this category. He would go on to have several more big hits after winning this award, earning another nomination in this category two years later.
1977
Merle Haggard
Waylon Jennings
Ronnie Milsap
Dolly Parton
Kenny Rogers
Ronnie Milsap dominated the CMA Awards, becoming one of its most frequently honored performers during the formative years of the awards show. He finally won the big prize on his third try, powered by the success of his classic hit, “It was Almost like a Song.”
1978
Crystal Gayle
Ronnie Milsap
Dolly Parton
Kenny Rogers
Mel Tillis
Her famous quote – “I’m not leaving country. I’m taking it with me” – must have held some water with the Nashville establishment, as Parton won this award at the height of her pop crossover success with “Here You Come Again,” the title track of her first platinum album. The front of her dress popped open before she went up to receive the trophy, prompting her to quip, “That’s what I get for trying to put fifty pounds of mud in a five pound bag.”
1979
Crystal Gayle
Barbara Mandrell
Willie Nelson
Kenny Rogers
Statler Brothers
He never won Male Vocalist of the Year, but superstar Willie Nelson was given his due by the CMA in 1979 when they awarded him Entertainer of the Year. While it wasn’t his biggest year on the charts, residual goodwill from Stardust and his collaborations with Waylon Jennings helped carry him to victory.
1980
Charlie Daniels Band
Larry Gatlin & The Gatlin Brothers
Barbara Mandrell
Willie Nelson
Kenny Rogers
She had a few big hits in 1980, like “Crackers” and “The Best of Strangers.” But it was her incredibly popular variety show with sisters Louise and Irlene that truly showcased her versatility as an entertainer, securing the first of two wins in this category.
1981
Alabama
George Jones
Barbara Mandrell
Oak Ridge Boys
Kenny Rogers
Despite sharing the category with four artists who had never won this award, Barbara Mandrell became the first artist in CMA history to win Entertainer of the Year for the second time. Credit the continued popularity of her television show and the biggest hit of her career, “I Was Country When Country Wasn’t Cool”, which featured a guest turn by fellow nominee George Jones.
1982
Alabama
Barbara Mandrell
Willie Nelson
Oak Ridge Boys
Ricky Skaggs
The band that laid the groundwork for all other country bands that followed, Alabama set a new bar for commercial success in the early eighties. The eligibility period included the release of their biggest-selling studio album, and also two of their signature hits: “Mountain Music” and “Love in the First Degree.”
1983
Alabama
Merle Haggard
Barbara Mandrell
Willie Nelson
Ricky Skaggs
As their studio albums sold in the millions, every single Alabama released to radio was hitting #1, a stretch that would eventually include 21 consecutive chart-toppers. They repeated in this category on the strength of hits like “Dixieland Delight” and “The Closer You Get.”
1984
Alabama
Lee Greenwood
Barbara Mandrell
Ronnie Milsap
Oak Ridge Boys
A mere three years after Barbara Mandrell made history by being the first artist to win two Entertainer awards, Alabama went her one better and won three. They remain one of only two acts to win this award three years in a row, doing so as their hits “Roll On (Eighteen Wheeler)” and “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” dominated the airwaves.
1985
Alabama
Lee Greenwood
Reba McEntire
Ricky Skaggs
George Strait
Few country artists command as much respect as Ricky Skaggs, a consummate singer and musician. Skaggs’ victory in this category signaled the resurgence of traditional country music, as he was the first winner since 1976 to not have achieved crossover hits on pop radio.
1986
The Judds
Reba McEntire
Willie Nelson
Ricky Skaggs
George Strait
One of the most popular new traditionalists of the mid-eighties, McEntire achieved her commercial breakthrough with “Whoever’s in New England”, which was aided in popularity by her first of many high-concept music video clips. McEntire would eventually become the most nominated woman in history, scoring ten nominations over eleven years.
1987
The Judds
Reba McEntire
George Strait
Randy Travis
Hank Williams, Jr.
When Hank Williams, Jr. won the Music Video award the previous year, he reminded voters, “I make audio, too.” They finally got around to acknowledging his meaningful contributions to the genre, awarding him the first of two Entertainer trophies in 1987.
1988
The Judds
Reba McEntire
George Strait
Randy Travis
Hank Williams, Jr.
Hank Jr. may have waited a long time for some CMA love, but once it came, it was in droves. He won Album of the Year the same night he repeated in this category. His biggest hit of the year, “Young Country”, featured guest appearances by up and comers like Highway 101 and Marty Stuart.
1989
Reba McEntire
Ricky Van Shelton
George Strait
Randy Travis
Hank Williams, Jr.
Three years after his most recent Male Vocalist trophy, megastar George Strait was named Entertainer of the Year. He would go on to have one of his biggest years at radio, with two multi-week #1 singles in the twelve months that followed his victory.
1990
Clint Black
Kathy Mattea
Ricky Van Shelton
George Strait
Randy Travis
While Randy Travis dominated the Male Vocalist race, George Strait was given his due again in the Entertainer category. He wore an Entertainer of the Year cowboy belt on the cover of Livin’ it Up, perhaps giving him good luck toward his second victory. He remains the most nominated in this category, and is only the second Hall of Famer to receive a nomination after being inducted into the Hall.
1991
Clint Black
Garth Brooks
Vince Gill
Reba McEntire
George Strait
A mere year after winning the Horizon award, Garth Brooks was the Entertainer of the Year at the CMA Awards. He was breaking every sales record in the book by that point. Shortly before the ceremony, he became the first country artist to enter the overall album chart at #1, leading to a media frenzy that gained unprecedented exposure for both Garth and the genre he represented.
1992
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
Travis Tritt
Given that he was already the biggest-selling country artist the world had ever seen, it was no surprise that Garth Brooks won his second Entertainer of the Year trophy in 1992. His continued popularity was fueled by sold out live shows that soon led to network specials showcasing his unique brand of arena country.
1993
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
Vince Gill capped off an amazing night at the 1993 CMA Awards with his first victory in this category. It was his fifth win of the night, as he also took home Male Vocalist, Song, Album and Vocal Event. As he was also the show’s sole host, the collective exposure pushed him to multi-platinum sales.
1994
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
The soft-spoken Gill won for a second year, which was no big surprise given his widespread popularity in Music City. He also went home with Album and Male Vocalist the same night, giving him a stunning fourteen trophies in only five years.
1995
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
As one of the evening’s top nominees, Alan Jackson brought his parents as his special guests. After losing in every other category, he expressed relief that he finally won something, as going home empty handed would’ve been embarrassing. Jackson would eventually become one of the organization’s most awarded artists.
1996
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
George Strait
They were already winners of five CMA awards, due solely to their domination of the Vocal Duo category. But in 1996, they finally won another race, and it was a big one. Brooks & Dunn remain the only duo to win this award, with The Judds and Sugarland being the only other duos to receive nominations.
1997
Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
George Strait
In a year when all five nominees had won this award before, it was Garth Brooks who returned to the winner’s circle, tying Alabama’s long-standing record of three victories in this category. Adding to the sense of déjà vu, this was the third year in a row where all five nominees were the same.
1998
Brooks & Dunn
Garth Brooks
Vince Gill
Tim McGraw
George Strait
As hard as it is to believe that there were any records left for him to break by 1998, Garth Brooks shattered another one, becoming the first artist in the history of the CMA to win four Entertainer of the Year awards. By this time, Garth had already sold more than 60 million albums, and while he has yet to win this award again, he remains the top-selling solo artist of all time in the United States.
1999
Garth Brooks
Dixie Chicks
Tim McGraw
George Strait
Shania Twain
The odds seemed against Shania Twain, as she had never won a CMA award before and the last woman to win was Reba McEntire thirteen years earlier. Fittingly, McEntire was on hand to present the trophy to Twain, who won on the strength of Come On Over, which eventually became top-selling country album of all time and the top selling album of the decade from any genre.
2000
Dixie Chicks
Faith Hill
Alan Jackson
Tim McGraw
George Strait
The Dixie Chicks capped off a stunning three-year run at the CMA Awards with this victory, one of nine that they racked up since 1998. Within those three years, their first two albums each sold over ten million copies, and the band was widely credited for championing country radio and traditionalism while other top acts were crossing over to pop radio.
2001
Brooks & Dunn
Dixie Chicks
Alan Jackson
Tim McGraw
George Strait
After winning two Male Vocalist and two Album of the Year honors in the previous three years, Tim McGraw finally won the CMA’s top award. It was a satisfying acknowledgment of an artist who’d had his talent underestimated in the first few years of his stardom, but built up a reputation for his stellar taste in choosing material.
2002
Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
George Strait
Jackson’s win in 1995 came as he was reaching his commercial peak. In the years that followed, Jackson remained a successful and well-respected artist that got less attention every year when it came time to hand out awards. Then came the one-two punch of “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”, both of which were viewed as the very embodiment of all that makes country music unique and essential. This was one of five awards he was honored with that night.
2003
Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
Tim McGraw
Although the ACM had chosen Toby Keith as their standard bearer a few months earlier, the CMA stuck with the previous year’s winner Alan Jackson. By 2003, Jackson had evolved into an elder statesman for the genre, but still managed to stay relevant with hits both clever (“It’s Five O’Clock Somewhere”) and poignant (“Remember When.”)
2004
Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
Tim McGraw
Chesney’s long dry spell at the CMA’s came to a satisfying end as the superstar collected both Entertainer and Album of the Year trophies. He had been charting for eleven years before finally winning his first CMA award.
2005
Kenny Chesney
Alan Jackson
Toby Keith
Brad Paisley
Keith Urban
One of the most surprising and endearing wins in the history of this category, a shocked and humbled Urban accepted this award in New York City. He couldn’t have picked a better night to bring his Australian parents to the ceremony.
2006
Brooks & Dunn
Kenny Chesney
Brad Paisley
Rascal Flatts
Keith Urban
It’s pretty rare to come back and win this award for a second time, as most multiple wins have been consecutive in this category. But Kenny Chesney joined Garth Brooks and Alan Jackson as the only other artists to pull it off when he won in 2006, a club that would later be joined by Taylor Swift.
2007
Kenny Chesney
Brad Paisley
Rascal Flatts
George Strait
Keith Urban
Chesney entered the elite company of Garth Brooks, Alabama, and Alan Jackson with his third victory in this category. Rascal Flatts, meanwhile, became the first group since the Dixie Chicks to score back-to-back nominations, a feat also accomplished by Alabama and the Oak Ridge Boys.
2008
Kenny Chesney
Brad Paisley
George Strait
Sugarland
Keith Urban
As Sugarland became only the third duo in history to receive a nomination and George Strait extended his record number of nominations to sixteen, Kenny Chesney tied Garth Brooks for the most wins in this category with his fourth victory. His popularity at radio and retail was remarkable, but it was Chesney’s highly attended summer stadium tours that earned him these wins.
2009
Kenny Chesney
Brad Paisley
George Strait
Taylor Swift
Keith Urban
Taylor Swift both made history and prevented it with her win in this category. She simultaneously became the youngest artist ever and the first female solo artist in ten years to take home the prize. She also kept Kenny Chesney from becoming the sole all-time champion in this category, as he remains tied with Garth Brooks with four wins to date.
2010
Lady Antebellum
Miranda Lambert
Brad Paisley
Keith Urban
Zac Brown Band
2010 shook up the category, with three first-time contenders in the running for the crown for the first time since 1981. Despite all the new blood, sixth time proved to be the charm for Brad Paisley, who finally won this award after five consecutive losses. Paisley’s persistent popularity helped him earn the nod in a year where the two previous winners weren’t even nominated.
2011
Jason Aldean
Brad Paisley
Blake Shelton
Taylor Swift
Keith Urban
Thirty years after Barbara Mandrell became the first woman to win this award twice, Swift became the second to do so. She won the award on the strength of her third set, Speak Now, which showcased her growing maturity as a songwriter and her growing appeal beyond her teenage and young adult fan base.
2012
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift
One of the most surprising wins in CMA history, few saw Blake Shelton’s victory coming. But it isn’t too surprising when you consider the number of artists who parlayed network television exposure into a win in this category. Perhaps in this new era of media saturation and minimal album sales, television may once again become a deciding factor when choosing the genre’s top star every year.
2013
Jason Aldean
Luke Bryan
Blake Shelton
George Strait
Taylor Swift
George Strait’s farewell tour helped return him to the category for the first time since 2009, earning him a record-extending eighteenth career nomination. Strait joins previous winners Taylor Swift (2009, 2011) and Blake Shelton (2012) in attempting a return to the winner’s circle. Luke Bryan earns his first nomination, just months after winning the ACM trophy. Jason Aldean, meanwhile, is hoping to get lucky the third time around.
Facts & Feats
Multiple Wins:
(4) – Garth Brooks, Kenny Chesney
(3) – Alabama, Alan Jackson
(2) –Vince Gill, Barbara Mandrell, George Strait, Taylor Swift, Hank Williams, Jr.
(2) – Garth Brooks (1991-1992, 1997-1998), Vince Gill (1993-1994), Barbara Mandrell (1980-1981), George Strait (1989-1990), Hank Williams, Jr. (1987-1988)
Most Nominations:
(18) – George Strait
(12) – Alan Jackson
(11) – Brooks & Dunn
(10) – Reba McEntire
(9) - Garth Brooks, Kenny Chesney
(8) - Vince Gill, Merle Haggard, Brad Paisley
(7) – Keith Urban
(6) – Barbara Mandrell, Tim McGraw, Willie Nelson, Brad Paisley, Charley Pride, Keith Urban
(5) – Alabama, Loretta Lynn, Ronnie Milsap, Kenny Rogers
Most Nominations Without a Win:
(5) – Kenny Rogers
(4) – Toby Keith, Randy Travis
(3) – Jason Aldean, Waylon Jennings, The Judds, Oak Ridge Boys
Winners in First Year of Nomination:
Eddy Arnold (1967), Garth Brooks (1991), Glen Campbell (1968), John Denver (1975), Charlie Rich (1974), Taylor Swift (2009), Mel Tillis (1976), Shania Twain (1999), Keith Urban (2004), Hank Williams, Jr. (1987)
CMA Entertainers of the Year Who Have Never Won the ACM Award:
Eddy Arnold, Johnny Cash, Glen Campbell, Roy Clark, John Denver, Vince Gill, Alan Jackson, Tim McGraw, Ronnie Milsap, Brad Paisley, Charlie Rich, Blake Shelton, Ricky Skaggs, Taylor Swift, Mel Tillis, Keith Urban
ACM Entertainers of the Year Who Have Never Won the CMA Award:
Luke Bryan, Mac Davis, Mickey Gilley, Freddie Hart, Toby Keith, Kenny Rogers, Carrie Underwood
As a general rule, you can scan the credits of any new country album and assume that if Brandy Clark is a writer on one of the songs, it’s the best song on the album. As Clark readies the release of 12 Stories, her debut album as an artist, it’s a great time for fans of that remarkable set to get caught up on Clark’s work to date.
Believe the hype. Clark really is as good as everyone is saying she is. Possibly even better, as these twenty tracks suggest. Scroll down to the bottom, and you can listen to snippets from all of them as you read along.
The Singles
Even if you’re only a casual fan of country radio, you’ve probably already heard Clark’s distinctive brand of songwriting. She’s penned huge hits for the Band Perry and Miranda Lambert in the past year, along with a should’ve-been hit for LeAnn Rimes and the upcoming release from frequent collaborator Kacey Musgraves.
Here’s a rundown of her radio releases so far.
“Better Dig Two”
written by Brandy Clark, Shane McAnally, and Trevor Rosen
from The Band Perry album, Pioneer
The production nearly overwhelms the sharpness of the lyric here, but after a few listens, it’s easier to get past the clutter and enjoy the wicked wordplay.
“Crazy Women”
written by Brandy Clark, Jessie Jo Dillon, and Shane McAnally
from the LeAnn Rimes album, Lady & Gentlemen
That Aqua Net reference at the beginning was flagged by us upon release as “the best opening line in recent memory.” It still holds up well today, sounding just as fresh and clever on Clark’s debut album.
“Follow Your Arrow”
written by Brandy Clark, Shane McAnally, and Kacey Musgraves
from the Kacey Musgraves album, Same Trailer Different Park
Arguably the strongest song on Musgraves’ remarkable debut set, “Follow Your Arrow” is a remarkably progressive anthem of tolerance and individual expression. It is slated to be the third single and in a perfect world, Musgraves will use that as a reason to perform it on the CMA Awards next month.
“Mama’s Broken Heart”
written by Brandy Clark, Shane McAnally, and Kacey Musgraves
from the Miranda Lambert album, Four the Record
Easily the best thing Lambert’s done in years, “Mama’s Broken Heart” is a whole lotta crazy without feeling even a little bit forced. It manages to slip in some sly feminist commentary, too.
“Things a Mama Don’t Know” (with Toby Keith)
written by Brandy Clark, Mark Narmore, and Liz Rose
from the Mica Roberts EP, Days You Live For
The debut single from Mica Roberts featured her Show Dog label head, Toby Keith. It’s a potent song about a woman who follows the wrong man across the country and doesn’t want to let her mother know how much she’s suffering as a result of this poor choice. It’s always nice to hear Keith’s voice, but his presence gets in the way of the lyric, making for an odd switch between third and first person during the second verse.
The Album Cuts
Many of Clark’s best songs have never been sent to radio. Here are some of her lesser-known tracks.
“The Boy Never Stays”
written by Brandy Clark, Sarah Darling, and Josh Osborne
from the Sarah Darling album, Angels & Devils
Clark’s songs reel you in early, usually with an opening line that immediately grabs your attention. “He’s the first taste of something you shouldn’t have. He’s the first lie you tell to your mom and dad.” Her masterful use of pathos is what sets Clark apart from most of her peers.
“Boys and Buses”
written by Brandy Clark, Shane McAnally, and Josh Osborne
digital download track from Season One of Nashville
There’s an incredible irony to the fact that Hayden Panettiere’s character on Nashville is supposed to be a flashy pop singer making disposable music for tweens. The songs she actually sings on the show are often top-notch, better than much of what’s on the radio today. “Boys and Buses” may have a chorus that would make Julie Roberts swoon, but it’s chock full of clever details and turns of phrase that are Clark’s hallmarks.
“Dandelion”
written by Brandy Clark, Shane McAnally, and Kacey Musgraves
from the Kacey Musgraves album, Same Trailer Different Park
A sweetly mournful song about love gone wrong, built around the false hope of wishing on a weed.
“The Day She Got Divorced”
written by Brandy Clark, Shane McAnally, and Mark D. Sanders
from the Reba McEntire album, All the Women I Am
When we reviewed this album three years ago, this track was noted as among the strongest. We called it “vivid and real, with lyrical imagery that would make Jeannie C. Riley proud.” One of the few great McEntire performances this century, it’s especially impressive that Clark’s own reading on her debut album is even better than McEntire’s reading of this dark and dreary divorce number.
“Get Outta My Yard”
written by Brandy Clark, Shane McAnally, and Kacey Musgraves
from the Gretchen Wilson album, Right on Time
Wilson’s latest album opens with this cut. It practically screams for a more aggressive performance, the latest reminder what Wilson’s outlaw image never really shows up at the mic. If Lambert’s looking for another rave-up, she might want to anchor her next set with this one.
“It is What it is”
written by Brandy Clark, Luke Laird, and Kacey Musgraves
from the Kacey Musgraves album, Same Trailer Different Park
The late night phone call concept has been done well before, but never quite this emotion-free. She doesn’t need him now and isn’t likely to hate herself in the morning for loving him tonight. “Maybe I love you,” she wonders, or “maybe I’m just kinda bored.” This is the best track on Musgraves’ album that hasn’t been flagged as a single yet.
“Last Night’s Make Up”
written by Brandy Clark, Jessie Jo Dillon, and Shane McAnally
from the Lorrie Morgan and Pam Tillis album, Dos Divas
You know that a writer is capturing universal truth when a song can be as convincing by a voice weathered by time as it would be if sung by someone as young as the writer herself. This tale of morning after regret is one of Morgan’s finest moments, on par with her signature ballads from the nineties.
“Love Without You” (featuring Sheryl Cr0w)
written by Brandy Clark and Shane McAnally
from the Darius Rucker album, True Believers
The Crow backing vocal is easy to miss until she starts singing some of the lines in the end, but Rucker hasn’t had his own talent showcased this well too often, so it helps that she stays out of the way for most of the track. The subtlety of the lyric and the quiet production allow him to shine as an interpreter.
“The Maker of Them All”
written by Brandy Clark and Billy Montana
from the Guy Penrod album, Breathe Deep
A stunning and uplifting celebration of how all of us are creations of God, using sharp contrasts to make the point of how many diverse and seemingly contradictory things are part of a greater plan designed by one maker. “The hands that have to fight. The hands that pray for peace at night. The Lord is the maker of them all.”
“Something Worth Stealing”
written by Brandy Clark and Jill King
from the Jill King album, Rain on Fire
“There’s love,” King sings, “and then there’s runaway desire.” There are a lot of songs about the actual cheating, but they usually document the heat of the moment. This indiscretion is coldly calculated, no matter how hot the flames of passion underlying it might be.
“That’s How I’ll Remember You”
written by Brandy Clark, Shane McAnally, and Madeleine Slate
from the David Nail album, The Sound of a Million Dreams
“Summertime in Brooklyn, mustard on your lip. I knew I loved you by the bottom of the fifth.” Not too many country songs capture moments that perfectly detailed, and this has got to be the only one where the moment takes place at a Brooklyn Cyclones game.
“Tryin’ to Go to Church”
written by Brandy Clark, Shane McAnally, and Ashton Shepherd
from the Ashton Shepherd album, Where Country Grows
One of the most charming tracks from Shepherd’s second set, she rattles off the reasons she can’t quite make it to church in her exaggerated twang. My personal favorite: “Here comes that husband-stealin’ heifer and I reckon I’m gonna have to fight.”
“Waitin’ on a Train”
written by Brandy Clark, Jessie Jo Dillon, and Shane McAnally
from the Buffy Lawson album, I’m Leaving You For Me
The debut solo album from former Bomshel Buffy Lawson features this gem that compares waiting for a man to love her in return to “standing in an airport, waiting on a train.”
“When I Find Me That Mountain”
written by Brandy Clark and Trent Jeffcoat
from the Trent Jeffcoat album, When I Find Me That Mountain
Clark doesn’t engage her faith much on her debut album, but if this and “The Maker of Them All” are any indication, she’s got a great country gospel album waiting inside of her.
“You Can Come Over”
written by Brandy Clark, Jessie Jo Dillon, and Mark Narmore
from the Craig Campbell album, Never Regret
A true hidden gem, this one tells the heartbreaker in question, “You can come over but you can’t come in.” A talk on the front porch, a ride in the truck. Those are just fine. But walking through his front door will just lead to her leaving again.
To recognize the impact that Alabama has had on modern country music, you could consider their millions of albums sold, their hundreds of awards, their many #1 songs or their induction into the Country Music Hall of Fame in 2005. You could also look at how the boys from Fort Payne, Ala. have the distinction of bringing something entirely new into country music.
Prior to Alabama, country music was predominantly a land of solo acts, with the occasional superstar duos (Conway & Loretta, George & Tammy) or backing bands (The Strangers, The Buckaroos) thrown in for good measure. Sure, there were plenty of vocal groups (Statler Brothers, Oak Ridge Boys), but actual bands, who played their own instruments, were few and far between in country music. It took Alabama to break down that particular barrier, and they paved the way for groups like Zac Brown Band, Diamond Rio, Eli Young Band and others.
Alabama is celebrating its 40th anniversary with a reunion tour and a couple of well-deserved tribute albums. The tributes are quite different, with one being done under the direction of the band, and the other a completely independent effort.
Alabama & Friends, featuring many of today’s leading country stars, comes off as less of a tribute album and more of an Alabama-themed celebrity karaoke night. Many of the songs have very similar arrangements to the originals, and even include Randy Owen, Jeff Cook and Teddy Gentry on lead and harmony vocals.
Many of the memorable elements from the original songs are still present. The fiddle breakdown in “Tennessee River” (with Jason Aldean), the tempo changes in “My Home’s in Alabama” (with Jamey Johnson) – they’re all present and accounted for. The songs that stick close to the originals aren’t necessarily bad. Luke Bryan, for instance, has plenty of flaws as a country singer, but his vocal abilities are not in question, so his version of “Love in the First Degree” is solid. The same could be said of Jason Aldean’s take on “Tennessee River” and Toby Keith’s “She and I.” There’s nothing wrong with them, but fans who love the Alabama originals might think the new ones are a bit too by-the-book.
There are a few instances where the guest singers step outside the box and add more of their own personality to the recording. Trisha Yearwood, the only female voice on the project, does a lovely job on “Forever’s as Far as I’ll Go,” and “Lady Down on Love” by Kenny Chesney stands among his best vocal performances. The same can’t be said of Florida Georgia Line, who takes “I’m in a Hurry (and Don’t Know Why),” adds their usual amount of noise and clutter to the mix, and makes it sound like every other Florida Georgia Line song ever recorded. While it’s a rare opportunity to hear both Tyler Hubbard and Brian Kelley sing lead vocals, it raises the issue of whether or not they’ve already run out of original ideas.
Alabama recorded two songs for the first time in 11 years, but they’re the weakest songs on the album. For a band that was one of the first to successfully blend country music with amped-up Southern rock, “That’s How I Was Raised” and “All American” are low-energy, generic rah-rah country disappointments.
Various Artists High Cotton: A Tribute to Alabama
High Cotton: A Tribute to Alabama, is available from Lightning Rod Records and has a collection of Americana/Red Dirt/indie all-stars doing their takes on Alabama hits. There is some overlap with the Alabama & Friends, but these versions have a bit more of an original feel. “Why Lady Why” gets transformed into a smoldering soul tune by JD McPherson, while Jason Isbell and John Paul White of The Civil Wars completely reinvent “Old Flame.” The Turnpike Troubadours and Shonna Tucker provide a spark with “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” and “Roll On (Eighteen Wheeler),” respectively. While neither version is light years from the original, they add energy to a project that leans heavily toward slow and reflective songs.
Two of Alabama’s love songs are recast as duets. While it’s startling to hear Todd Snider as a romantic balladeer instead of a smart-ass hippie folk singer, his voice never quite meshes with Elizabeth Cook on “Feels So Right.” Wade Bowen and Brandy Clark’s duet on “Love in the First Degree” is excellent, however, and raises the anticipation level for Clark’s debut album.
Not every experiment is a success. Once again, “I’m in a Hurry” gets short shrift, as Jessica Lea Mayfield turns it into a funereal dirge. “Lady Down on Love” just does not work as a bluegrass/spoken word ballad, as evidenced by Bob Schneider & The Texas Bluegrass Massacre with Ray Benson. Jason Boland & The Stragglers’ take on “Mountain Music” is fine, but the insistence of aping the original, from the spoken-word intro to the guest vocals from a couple of the Stragglers à la Cook and Gentry is a little cheesy.
It’s a testament to Alabama’s far-reaching appeal that artists as different as Jason Isbell and Jason Aldean would want to sing their songs. Whether it’s a note-for-note recreation or a completely new interpretation of their hit songs, there is something in these two albums to please any Alabama fan.
Looking at recent single releases “Red Solo Cup,” “Beers Ago,” “I Like Girls That Drink Beer,” and “Hope On the Rocks,” it would appear that Toby Keith is definitely in the zone for drinking songs right now. His chart success, however, has not been quite so consistent lately. He scored the first double-platinum hit of his career with the ubiquitous sing-along and viral video hit “Red Solo Cup” only to miss the Top 15 with both of the singles from last year’s Hope On the Rocks album.
The first single from Keith’s upcoming seventeenth studio album doesn’t exactly sound like another career hit for the two-time ACM Entertainer of the Year, who now seems to have reached the back side of his commercial peak. But it what it does sound like is a tasteful, competent, not overly self-serious chill-out jam that will no doubt hit the spot at the end of a long, hard work day.
Today’s country radio is hardly short on feel-good fare, but it’s not always as solidly produced as “Drinks After Work,” which is smartly held together by a catchy guitar hook and some sweet mandolin picking. Better yet, “Drinks After Work” actually manages to convey why its narrator seeks the respite of a few good beers as he mutters about his, “long day, no break,” straining to be optimistic in noting that “We made it to the middle of the week.” Keith’s delivery makes the narrator sound every bit as fried as the lyrics suggest. Bonus points to the writers for steering clear of goofy Blake Shelton-esque pick-up lines as the narrator casually and unpretentiously invites a lady friend to join him for his night on the town.
It certainly doesn’t hurt the proceedings that we have one of contemporary country music’s strongest male vocalists behind the mic, or that the writers thankfully bothered to give the song a melody with a little life to it. The only major knock against the song is that it lacks a strong lyrical hook. “It’s just drinks after work” is a bit on the shallow side as a listener payoff. But even when allowing for that deficiency, there are still many far less enjoyable drinking tunes currently populating country radio.
It sure is good to hear a drinking song with a little heart and character to it, and if it re-gains a little commercial steam for Toby Keith, then all the better. Bottoms up!
Written by Barry Dean, Natalie Hemby, and Luke Laird
Like “I Won’t Let Go” a few years back, “Changed” is built on a sweeping sentiment, rousing melody and very little else. That’s not an inherently bad thing; despite an ounce of detail about the confessor, “Changed” feels like a confession –it pleads and swells and submits. Add in an earnest and relatively restrained performance, and the song has legs.
Written by Gary LeVox, Wendell Mobley & Neil Thrasher
There’s something slightly jarring about the patrons’ terribly depressing hardships when the only payoff in the song is alcohol-infused hope. Maybe that’s the point, or maybe the bartender’s storyline is just a pinch undercooked. Regardless, it’s hard to knock the lovely, retro-Keith vocals and arrangement.
Tim McGraw ft. Taylor Swift and Keith Urban, “Highway Don’t Care”
In theory, this is a cool track: Swift’s removed, floating performance makes sense in a song about loneliness, and Urban’s vigorous guitar work could mirror the discord in any relationship. But the melody just isn’t as driving as the three artists think it is, and the pairing of McGraw and Swift doesn’t have much grit, sonically or romantically. There’s little to grab onto past the second or third listen.
Written by Mark Irwin, Josh Kear, & Brad and Brett Warren
story subtle dimension. Best of all is the jolt that comes from one ever-relevant line in the chorus, smartly directed at the listener: “Happiness don’t drag its feet” is as sage a piece of advice as any given by our favorite ’90s storytellers.
Something you probably already know about us here at Country Universe: We love country music. A lot. While truly great country music has become scarce on country radio, we are fortunate to live in an age in which modern technology has made great music more accessible than ever, regardless of whether Top 40 radio dares touch it.
At the close of each year we separate the grain from the chaff, and share the music we discovered over the past year that made us glad that we stuck with our genre of choice. We at Country Universe have put our heads together to create the following lists of favorite singles and albums of 2012.
Seven writers – Kevin Coyne, Leeann Ward, Dan Milliken, Tara Seetharam, Jonathan Keefe, Sam Gazdziak, and myself – individually listed our twenty favorite albums and singles of 2012, and used a points system to combine our individual lists into collective lists. Our Best of 2012 feature will include countdowns of forty albums and forty singles. Today we reveal our Top 40 Singles, with our Top 40 Albums countdown to follow shortly thereafter. Enjoy, and please be sure to share your own favorites in the comments section. Thank you to all for being a part of the Country Universe family in 2012. We look forward to sharing more great music in 2013.
#40
“Southern Comfort Zone” Brad Paisley
Individual rankings: Jonathan – #13; Leeann – #20
Brad Paisley has never been one for subtlety, and “Southern Comfort Zone,” with its tacky gospel-choir-singing-“Dixie” coda and Kings of Leon arena-rock chorus, is perhaps his most graceless and didactic effort. But sometimes it takes the subtlety and precision of a sledgehammer to get one’s point across, especially when your point is a thoughtful and sincere charge to consider how unfamiliar experiences can both reinforce and challenge your core beliefs (a point Paisley makes, it’s worth mentioning, while straying significantly from his trademark aesthetic), and whenthat point has to be made while trying to shout over a bunch of Ed Hardy-dressed hacks whose entire “artistry” hinges on perpetuating ugly rural-versus-urban class conflicts over music that sounds like a Metallica cover band. No, it isn’t a single I particularly like listening to, but it’s one I fundamentally respect for challenging what became country’s status quo in 2012. - Jonathan Keefe
#39
“Every Storm (Runs Out of Rain)” Gary Allan
Individual rankings: Sam – #8
The title is a little trite and sounds like something that Dr. Phil might say, but Allan’s vocal performance and a moody arrangement make this song a winner. - Sam Gazdziak
#38 “Goodbye In Her Eyes” Zac Brown Band
Individual rankings: Sam – #14; Leeann – #18
“Goodbye in Her Eyes” is, hands down, the coolest-sounding sad song on the radio in 2012. - Leeann Ward
#37 “In Between Jobs” Todd Snider
Individual rankings: Jonathan – #6
An update of “Working Man’s Blues” for the modern economic crisis, Todd Snider’s “In Between Jobs” glides along the sleaziest of blues riffs and slowly reveals his frustrated, unemployed narrator’s intentions. Spoiler alert: He doesn’t plan on staging a “We Are the 99%” protest outside the home of the wealthy man he’s addressing. - Jonathan Keefe
#36 “You Go Your Way” Alan Jackson
Individual rankings: Kevin – #13; Sam – #18
“You go your way, and I’ll go crazy,” Jackson sings. It’s too bad that Jackson has fallen out of radio’s good graces, because this beautiful heartbreaker deserved to be another of his #1 singles. - Sam Gazdziak
#35
“Born to Be Blue” The Mavericks
Individual rankings: Ben – #17; Dan – #18; Tara – #20
A slice of throwback 50′s pop that reminds us how blissfully therapeutic it feels to pair heartache with a sweet, simple melody. - Tara Seetharam
#34 “Closer” Mindy Smith
Individual rankings: Leeann – #12; Dan – #14
Much like Alison Krauss, to whom Mindy Smith is often compared, you’ll rarely hear Smith’s pretty voice singing upbeat, frivolous songs. Instead, she tends toward the introspective and even melancholy. The Swampy “Closer” showcases both tones, but it’s blended with some hopeful optimism as well. - Leeann Ward
#33 “Drunk On You” Luke Bryan
Individual rankings: Dan – #12; Kevin – #14
In reality, I don’t think any woman could take a guy seriously if he told her that “you make my speakers go boom-boom.” Funny how the best country music is far more forgiving than reality. - Kevin John Coyne
#32
“Cruise” Florida Georgia Line
Individual rankings: Dan – #3
Sorry, people with taste; there’s (I mean – there’z) a reason this abomination is riding high. It’s the catchiest country sing-along since “Wagon Wheel.” - Dan Milliken
#31 “When I’m Gone” Joey + Rory
Individual rankings: Kevin – #12; Ben – #12
A pensive meditation on the process of grief, delivered through one of Joey Martin Feek’s most deeply moving performances on record. While it obviously had no chance at country radio, “When I’m Gone” is nonetheless a standout career achievement for this exceptionally talented husband-and-wife duo. - Ben Foster
#30 “Postcard from Paris” The Band Perry
Individual rankings: Ben – #11; Sam – #13
In spite of their occasional misfires, “Postcard from Paris” is a moment in which the Perry siblings are able to effectively marry their lovably quirky nature to a lyrical concept that actually works – and works beautifully, with a titular analogy that’s both clever and effective, and a refrain that bites subtly but sharply (“The meanest thing you ever did is come around…and now I’m ruined”). Finish it off with an arrangement that sounds like something off of the Dixie Chicks’ Fly, and everybody wins. - Ben Foster
#29 “When It Pleases You” Sara Watkins
Individual rankings: Dan – #10; Leeann – #17
With slow, seething ire, Watkins faces the truth that she’s giving her whole heart to a relationship and getting jack back. “I call you when I want to hear –,” she sighs, “– my voice whisper…in your voicemail’s ear.” - Dan Milliken
#28
“Live and Die”
The Avett Brothers
Individual rankings: Sam – #2
The lead single from The Avetts Brothers’ new album was the perfect middle ground between their charmingly rough-around-the-edges independent albums and their more polished I and Love and You release from 2010. There is something about the Avetts singing sentimental, romantic lyrics over the strumming of a banjo that’s just so right. - Sam Gazdziak
#27 “Is It Already Time?” Wade Hayes
Individual rankings: Kevin – #10; Dan – #15
A to-the-point account of getting a diagnosis out of nowhere and suddenly having to stare down one’s own mortality. - Dan Milliken
#26
“Safe & Sound” Taylor Swift featuring The Civil Wars
Individual rankings: Leeann – #10; Jonathan – #14
The soft production and gentle melody of “Safe & Sound” compliment Taylor Swift’s wispy voice rather than competing against it, as is prone to happen in many of Swift’s recordings. The addition of The Civil Wars’ sublime vocal support greatly elevates a recording that would have been pretty good without them, but turns out to be even better with them. - Leeann Ward
#25 “I Like Girls That Drink Beer” Toby Keith
Individual rankings: Kevin – #9; Leeann – #16
Keith revisits the classic uptown girl/downtown boy pairing that’s resulted in so many great country records in years gone by. - Kevin John Coyne
#24
“Plant White Roses” Kelly Hogan
Individual rankings: Jonathan – #1
Stephin Merritt of the Magnetic Fields is one of pop music’s most sardonic, morose songwriters, prone to declarations like, “Plant white roses, and plan to cry/If I can’t spend my life with you, I want to die.” But Kelly
Hogan, best known for her work singing back-up with Neko Case, is a such a gifted interpretive singer that she’s able to find the humanity in Merritt’s sad-sack narrators, and it’s her multifaceted, nuanced reading of “Plant White Roses” that ropes the song into the country genre. - Jonathan Keefe
#23 “Good Girl” Carrie Underwood
Individual rankings: Kevin – #6; Dan – #16
A rockin’ little record that exudes Underwood’s growing confidence as a singer and a songwriter. A much-needed shot of adrenaline into the arm of country radio. - Kevin John Coyne
#22 “Hello Cruel World” Gretchen Peters
Individual rankings: Ben – #8; Sam – #12
An insightful, slyly self-deprecating take on middle age and mortality, with the narrator musing “I’m not dead, but I’m damaged goods, and it’s getting late.” A clever pun of a title hook reflects the narrator’s resolve to make peace with the past, and to keep moving forward. - Ben Foster
#21 “Dig Gravedigger Dig” Corb Lund
Individual rankings: Sam – #4; Jonathan – #18
Lund gives a little love to the gravedigging profession with this bluesy stomper. It’s perhaps a little twisted, but more country songs could stand to reference rigor mortis these days. - Sam Gazdziak
#20 “I’m a Mess” Rodney Crowell
Individual rankings: Leeann – #4; Kevin – #16
From his collaborative project with Mary Karr that includes many esteemed guest artists, this Rodney Crowell-performed cut emerges as one of the strongest. With a production that would neatly fit on one of his albums of the 2000′s, the lyric suits the chaos that its title suggests. - Leeann Ward
#19 “Fly Over States” Jason Aldean
Individual rankings: Tara – #7; Dan – #9
Aldean relaxes his badass-hicktown-pride muscles for a moment and reveals the beating heart beneath. It’s like a heartland-rock “Colors of the Wind” – and what could be more badass than that? - Dan Milliken
#18
“Even If It Breaks Your Heart” Eli Young Band
Individual rankings: Sam – #5; Tara – #16; Jonathan – #16; Dan – #20
The song was written by Will Hoge and Eric Paslay, but the Eli Young Band made this tale about preservation and hope their own. Given the ups and downs and should’ve-been-hits that the Texas group has seen in its career, they’ve lived this song. - Sam Gazdziak
#17 “Two Black Cadillacs” Carrie Underwood
Individual rankings: Kevin – #4; Tara – #4; Ben – #18
A haunting Southern Gothic tale of revenge, heavy on the catharsis and light on the narrative. Underwood fills in the gaps with a spot-on performance – imbuing it with chilling fury, sinister joy, and just enough poise to suggest she knows tantalizingly more than we do. - Tara Seetharam
#16
“Beer Money” Kip Moore
Individual rankings: Dan – #8; Tara – #9; Kevin – #11 Ben – #19
The year’s finest blue-collar drinkin’ song, crackling with desperation and sexual friction. - Dan Milliken
#15 “Better Dig Two” The Band Perry
Individual rankings: Jonathan – #7; Leeann – #9; Dan – #11; Tara – #19
The second most surprising moment in country music in 2012 was that The Band Perry’s “Better Dig Two” finds producer Dann Huff, known for his heavy hand at the mixing board and his affinity for maudlin arrangements, doing an on-point impression of Rick Rubin. But the most surprising moment in country music in 2012 has to be the casual reference to crystal meth in the single’s second verse. Artists like Drive-By Truckers and Hank III have addressed rural America’s drug of choice for years now, but who would’ve ever expected that the exceedingly polite, ridiculously coiffed Perry siblings – and not, say, Eric Church in full “outlaw” drag – would’ve been the ones to bring a parallel between one of the nastiest, most damaging of vices and the addictive powers of love to country radio? Or that they’d pull off such a thing with the kind of authority and conviction that make “Better Dig Two” so searing? This isn’t a wistful fantasy about what happens if the narrator dies young; it’s an open threat of how things very likely will end. - Jonathan Keefe
#14 “I Just Come Here for the Music” Don Williams featuring Alison Krauss
Individual rankings: Ben – #6; Sam – #7; Dan – #17; Kevin – #20
Don Williams’ return from retirement was a nice surprise in and of itself. And So It Goes found Williams still at the top of his game, and this duet with Krauss is one of the many highlights. His deep baritone and her angelic harmonies blend beautifully. - Sam Gazdziak
#13 “The Dreaming Fields” Matraca Berg
Individual rankings: Ben – #2; Leeann – #6; Jonathan – #10
In one of the finest songs by one of country music’s finest songwriters, Matraca Berg lays bare her feelings of wistfulness over the loss of a family farm embodying scores of memories. “The Dreaming Fields” boasts a deeply compelling melody, a chillingly effective arrangement, and a gut-wrenching vocal performance. I may not know the first thing about farming, but one thing I do understand is the meaning of a memory. This song rips my heart out. - Ben Foster
#12
“Springsteen” Eric Church
Individual rankings: Dan – #6; Tara – #6; Leeann – #15; Jonathan – #17; Ben – #20
The song was a pretty piece of nostalgia to begin with. But Jay Joyce’s hypnotic groove lifts the record to a higher ground, giving it the same sort of spiritual beauty often attributed to its namesake’s best work. - Dan Milliken
#11 “Blown Away” Carrie Underwood
Individual rankings: Kevin – #2; Dan – #7; Tara – #14; Ben – #15
An epic single with both a theme and a production big enough to contain the overwhelming vocal powerhouse that is Carrie Underwood. Give her points for being courageous enough to tackle this topic on record, but get down on your knees and offer praise and gratitude for being talented enough to pull it off. - Kevin John Coyne
#10
“The Wind”
Zac Brown Band
Individual rankings: Jonathan – #2; Tara – #11; Leeann – #13; Ben – #14; Sam – #19
With an impressive string of Top 2 hits and a couple of platinum-plus albums to their credit, Zac Brown Band had earned the opportunity to take a risk leading up to the release of their third studio album. While Uncaged had no shortage of obvious radio hits, the band, who have always been more of a “Southern” band than a proper “country” outfit, chose to prove their genre bona fides by releasing “The Wind.” A fast-picking, freewheeling romp, “The Wind” sets the ideal stage for a “hoedown” vs. “hootenanny” debate. The song’s breakneck speed and clever turns-of-phrase may have proved too much for radio, where it became the band’s first single to miss the Top 10, but it’s a single that highlighted the real breadth of Zac Brown Band’s range. - Jonathan Keefe
#9 “The Sound of a Million Dreams” David Nail
Individual rankings: Tara – #1; Kevin – #8; Ben – #9; Dan – #19
With an arrangement as rich as its sentiment, “The Sound of a Million Dreams” is an elegant tribute to songs, punctuated by a searing second verse. Billy Joel could have mastered this piano ballad, but he wouldn’t have delivered it with such painfully earnest hope. And in an era where too many artists have the audacity to present us with career-low music, Nail’s unapologetic faith in the power of his craft is deeply, depressingly refreshing. - Tara Seetharam
#8 “Creepin’” Eric Church
Individual rankings: Sam – #1; Dan – #2; Leeann – #8; Tara – #15
With an ominous vibe and distorted vocals, Church manages to come up with a unique song in an increasingly cookie-cutter genre. From the opening “bom bom bom bah-dom” to its searing guitar solos, “Creepin’” is one of the year’s most distinctive singles in any genre. When all to many “country-rock” songs are really just rock songs about country things, “Creepin’” really does manage to blend the two elements into something new and exciting. - Sam Gazdziak
#7
“Neon” Chris Young
Individual rankings: Tara – #3; Dan – #5; Leeann – #7; Jonathan – #8; Ben – #13
Young’s ode to a bar gracefully treads the line between vintage and current, packed with clever imagery and backed by a sturdy neotraditional arrangement. But don’t pity the patron a la “Neon Moon” – Young trades Ronnie Dunn’s loneliness for sweet, boozy contentment. Note by note, he melts the entire song into a sublime pool of resignation, a near-perfect encapsulation of those hazy, memory-drowning nights. - Tara Seetharam
#6 “Takin’ Pills” Pistol Annies
Individual rankings: Jonathan – #3; Leeann – #5; Sam – #9; Tara – #10; Ben – #10
Miranda Lambert’s critical clout took a considerable hit in 2012 as a result of back-to-back career-worst singles, but the second proper single from the Pistol Annies was plenty strong enough to keep Lambert associated with some of the smartest, most self-aware songwriting in modern country. “Takin’ Pills” finds the Annies having an absolute ball in playing dress-up, and the song is all the better because they give their audience credit for knowing exactly what they’re doing and why they’re doing it. During a year when so many acts were preoccupied with misguided notions of authenticity, to hear the Annies flaunt their artifice so brazenly made for a welcome change of pace. It’s a shame — albeit an unsurprising one — that country radio still won’t give them the time of day. - Jonathan Keefe
#5 “Like a Rose” Ashley Monroe
Individual rankings: Leeann – #1; Ben – #5; Jonathan – #9; Sam – #10; Tara – #13
Hearing a new country song from Ashley Monroe, as a solo artist, has been a long time coming. While the wait has been tough, the payoff has certainly been worth it. “Like A Rose”, the first song that the public has been able to hear from her upcoming 2013 album, is a crisply produced, sharply written and exquisitely sung gem. High praise for a song that may unfortunately ultimately slip under the radar, but such praise is easily warranted here. - Leeann Ward
#4 “Drinkin’ Man” George Strait
Individual rankings: Kevin – #3; Ben – #3; Tara – #5; Jonathan – #5; Leeann – #11
There are few bright spots that come with the knowledge that Strait is in the twilight of his career, with retirement seeming more likely with each passing year. One particularly shiny one is that Strait’s become something of a vanguard in these final years. “Drinkin’ Man” is challenging, compelling, and subtly powerful, not adjectives typically associated with his remarkable thirty years of hits. He’s always been good, but he’s rarely been this interesting. - Kevin John Coyne
#3 “What Have I Done” LeAnn Rimes
Individual rankings: Tara – #2; Leeann – #3; Dan – #4; Ben – #4; Kevin – #5
Music’s finest quality is its ability to express the intangible – the smallest trace of thought, the slightest nuance of emotion. “What Have I Done” is a striking example of this, a quiet shuffle of pain, regret and reflection that, if only for a few minutes, elevates a well-known story to a three-dimensional reality. The lyrics are sharp and unadorned, but the song’s soul is Rimes’ layered performance, easily the most compelling of the year. - Tara Seetharam
#2 “So You Don’t Have to Love Me Anymore” Alan Jackson
Individual rankings: Kevin – #1; Ben – #1; Jonathan – #4; Tara – #8; Sam – #11
Had it been released fifteen or twenty years ago, “So You Don’t Have to Love Me Anymore” would stand a much greater chance at being remembered as the classic it is. Shameful #25 chart peak aside, this is an achingly beautiful, finely detailed story of a man who is willing to let his reputation fall into ruins for the sake of allowing his former lover to move on without him, resigning himself to a despondent, heartbroken existence in which nothing matters to him at all except the happiness of the one he loves. A steel guitar, a nakedly sincere vocal, and the dark, bitter, aching truth – It’s everything a great country record should be. A timeless career highlight from a true country music legend. - Ben Foster
#1 “Merry Go ‘Round” Kacey Musgraves
Individual rankings: Dan – #1; Leeann – #2; Sam – #3; Kevin – #7; Ben – #7; Tara – #12
In a single masterful stroke, Musgraves cuts to the fearful, defeated heart of countless small-towners – countless any-towners, really. The nursery-rhyme chorus is country poetry of the highest order, illustrating in a few simple lines how we compromise ourselves rather than face the unknown, turning to one distraction or another until we almost don’t notice the years rolling by, our dreams collecting dust.
It would have been a standout single in most any era of country music. That it’s managed to go Top 20 in this era – in which the mainstream anxiously evades things that are smart, challenging, new, and female – feels like a small miracle, and speaks to the timeless power of great music to transcend meaningless boundaries. It’s the most impressive debut country single in recent memory, and an enticing challenge to an ever-reductive Music Row: Truth and creativity can still win out in 2012. - Dan Milliken
be quickly forced out by layers of screaming bass and electric guitar. And yes, the lyrics are so forehead-slapping dumb as to make Toby Keith’s “Red Solo Cup” sound like a musical revelation.
Yes, from the opening cry of “Come on, cowboys and cowgirls, it’s time to par-tay!” to the stupid “Z” slapped onto the end of the title, this is just bad, bad, bad. Big & Rich quite seriously sound like they’re not even trying anymore. It feels like there isn’t even any point in poking fun at this dreck because Big & Rich are making fun of themselves.
Zzzzzzzzzzzzzz
Written by Big Kenny, John Rich, Rodney Clawson, and Vicky McGehee (Cue the requisite “It took four writers to come up with this?” jabs)
While the rest of the country fixates on “Nashville,” the 46th annual Country Music Association Awards air live from Music City with equal drama and ridiculousness November 1 at 7 p.m. CST. The CU staff picked and predicted the awards below. Chime in with your thoughts, and check back for our live blog on Thursday night!
Entertainer of the Year
Should Win:
Jason Aldean – Dan, Ben, Kevin
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift – Jonathan, Tara, Leeann
Will Win:
Jason Aldean – Dan, Ben, Jonathan, Kevin
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift – Tara, Leeann
Dan: I’ll probably never be able to fully embrace Aldean, but his impact on the genre remains undeniable, and once in a while he releases something like “Fly Over States” that lends some dimension to his hick-rock formula.
Tara: “Fly Over States” will land on my best-of-2012 list (I’m as surprised as you are), but I just can’t get behind Jason Aldean’s overall brand of country, regardless of his impact. That leaves me with Blake Shelton and Taylor Swift, and only the latter put out music to match her star in the eligibility period. Boring category.
Ben: Sadly, this category just keeps getting harder and harder for me to care about. I could still see Swift taking it, but an Aldean victory is almost certain to happen sooner or later, and I’m thinking this could be his year. Blake’s turn will come eventually, but not until after Aldean has had his.
Jonathan: Aldean has yet to release anything I’ve liked even a little bit, but this award has increasingly turned into Nashville’s way to say “thank you” to whoever is bringing the most cash back to Music Row, so Aldean is likely due for a pat on the back. On some level, Shelton’s heightened media presence is its own reward, but he’s the most likely spoiler here, since pop crossover stars like Swift rarely pull off repeat wins.
Kevin: Should win: Carrie Underwood. But since she’s not nominated, I’ll go with Jason Aldean, who has been the biggest country artist this past year. I expect he’ll win, too.
Leeann: While it’s completely baffling to me that Jason Aldean has taken off as he has, I wouldn’t be shocked if he won this award. I, however, feel that it’s far more likely that Taylor Swift will win again.
Female Vocalist of the Year
Should Win:
Kelly Clarkson
Miranda Lambert – Leeann
Martina McBride
Taylor Swift
Carrie Underwood – Dan, Ben, Jonathan, Tara, Kevin
Will Win:
Kelly Clarkson
Miranda Lambert – Dan, Ben, Jonathan, Tara, Kevin
Martina McBride
Taylor Swift – Leeann
Carrie Underwood
Tara: I still believe Underwood’s best is yet to come, but she deserves respect from the industry and critics alike for taking the kind of creative, thematic and interpretive risks she took with Blown Away. Maybe come next year she’ll have more influence; this year, the award is still Lambert’s to lose. (And shout out to homegirl Clarkson, who may have no place in this category, but who gave us the best cover of “Go Rest High On That Mountain” that I’ve ever heard.)
Ben: In my perfect world, Carrie Underwood’s solid new music (which was released within this year’s eligibility period) would nab her the trophy. Miranda had the most radio success this year, and will almost surely emerge victorious, but I simply can’t endorse the idea of rewarding her for releasing two singles that were easily the worst duds of her career. Footnote: Country radio seriously needs to start supporting more female artists.
Jonathan: I adore Kelly Clarkson, and, based upon nearly a decade’s worth of concert performances, I’d argue that she has the best taste in country material of any of the women nominated, and I look forward to the day when she finally records a proper country album. But her nomination here is absurd. Fortunately, she’s not really in the running to win. This likely comes down to Lambert and Underwood. In the past, I’ve championed Lambert for her fearless artistic vision, and I’ve been highly critical of Underwood’s grossly over-praised and over-rewarded output. But, this year, I’d prefer to see Underwood recognized for what is far and away her career-best work than to see Lambert win for what is quite obviously her worst. I doubt the voters will agree.
Dan: Ditto the others, pretty much. Underwood’s taste in material has deepened, but what excites me most is that her interpretive abilities have, too. I never used to feel comfortable with those comparisons to the Trishas and Connies of the world. Now I do.
Kevin: It’s all been said. Underwood’s reached new heights of artistry while still maintaining her commercial relevance. I’d call her one of the best, but that would imply there’s anyone else in her league right now.
Leeann: Miranda Lambert is still my favorite out of these choices and Kelly Clarkson’s nomination is still confusing to me. I think the award is a toss up between Taylor and Carrie in all actuality though.
Male Vocalist of the Year
Should Win:
Jason Aldean
Luke Bryan
Eric Church – Dan, Ben, Jonathan, Tara, Kevin
Blake Shelton – Leeann
Keith Urban
Will Win:
Jason Aldean
Luke Bryan – Dan
Eric Church – Kevin
Blake Shelton – Ben, Jonathan, Tara, Leeann
Keith Urban
Tara: Unlike last year’s crop of men, these five at least put out memorable if not entirely thoughtful material in the eligibility period. But Church is the only one who’s had a consistent vision, and what a difference that makes. I don’t see the voters dethroning Shelton, though.
Ben: I expect that the CMA is going to continue shoving the whole “Blake and Miranda are the new Tim and Faith!” idea down our throats, but Eric Church made the best music of the field by far, and country radio finally decided to get on board with it. Eric Church deserves this.
Jonathan: Church is the only one of the five who has released any strong material during the eligibility period, though I generally remain a fan of Urban’s. It’s hard to see either of those two men winning, though. Urban’s past his commercial peak, and Church is still too divisive a persona. I also think Aldean’s vocal limitations play against him here – see Chesney, Kenny, and his track record in Male Vocalist races – especially since he’s likely to be recognized elsewhere. That leaves Crest WhiteStrips to take on Shelton. I think Shelton gets another win before Bryan’s inevitable coronation here.
Dan: CMA has developed a bad habit of just voting for the incumbent. But Bryan has the most momentum right now, so what the hey; I’ll mix things up and call it Crest Whitestrips 2012.
Kevin: Gonna go out on a limb and say the best one takes it home this year. They’ve got to be itching to finally acknowledge Eric Church, right? Right???
Leeann: Blake Shelton has had a good year. I suppose he has a good, high profile chance of being rewarded for it.
Vocal Group of the Year
Should Win:
The Band Perry
Eli Young Band
Lady Antebellum
Little Big Town – Kevin
Zac Brown Band – Dan, Ben, Jonathan, Tara, Leeann
Will Win:
The Band Perry
Eli Young Band
Lady Antebellum – Dan, Ben, Leeann
Little Big Town – Jonathan, Tara, Kevin
Zac Brown Band
Dan: Little Big Town’s album is too new, but their sudden momentum could power them to a spoiler win here anyway, depending on who Capitol gets behind. I’ll support them come ACM time; for now, give Zac Brown Band their freakin’ due.
Tara: Zac Brown Band and Little Big Town both put out stellar new music; the only major difference is timing. I support a ZBB win but won’t be disappointed if/when the “Pontoon”-fueled LBT steals this from the most complacent group in country music.
Ben: Zac Brown Band should win. Lady Antebellum will win. Déjà vu?
Jonathan: As much as logic points to another indefensible win for the most useless act in popular music, and as much as I want to see Zac Brown Band finally earn their long-overdue recognition, I’m calling this one an upset for the also-long-overdue Little Big Town. That karaoke video for “Pontoon” showed off just how deeply likedthey are by their peers, and now that they have the commercial stats, I think that that pervasive goodwill gives them the edge here.
Kevin: I think the red-hot momentum of Little Big Town could put them over the top. Zac Brown Band’s been my pick for a couple of years, but I really think they’re just treading water at this point.
Leeann: Zac Brown Band is far and away my favorite group of the nominees here, but Little Big Town’s talent is undeniable. I’d be happy if either of them won. I’m afraid Lady A will still win though.
Vocal Duo of the Year
Should Win:
Big & Rich
Love and Theft
Sugarland
The Civil Wars – Dan, Ben, Jonathan, Tara, Kevin, Leeann
Thompson Square
Will Win:
Big & Rich
Love and Theft
Sugarland – Leeann
The Civil Wars – Kevin
Thompson Square – Dan, Ben, Jonathan, Tara
Ben: Because The Civil Wars are good.
Jonathan: Per usual: Merge this category with Vocal Group to trim the fat. The only act here deserving of the recognition is the one with the longest of long-shots to win.
Dan: La la la.
Tara: So pointless.
Kevin: I’m going out on another limb, this time by thinking that the whole “massive commercial success without radio” thing will give the Civil Wars a Mavericks-style victory. I’d honestly rather be wrong in my predictions than be depressed before the show even airs.
Leeann: I don’t think Sugarland has had a particularly active year, but I think they might still win based on name recognition.
New Artist of the Year
Should Win:
Lee Brice – Ben, Tara, Leeann
Brantley Gilbert
Hunter Hayes – Dan, Kevin
Love and Theft
Thompson Square
Will Win:
Lee Brice
Brantley Gilbert – Dan, Ben, Jonathan
Hunter Hayes – Kevin, Leeann, Tara
Love and Theft
Thompson Square
Dan: Since none of these artists do it for me, I’d shrug it over to the technically skilled Hayes, who I think could be interesting in the future if he challenges himself to become more than a one-man boy-band. As Sawyer Brown and Keith Urban have proven, sometimes an artist earns their win in this category retroactively.
Tara: Hunter Hayes needs to rein it in a bit, but his chops have potential. Lee Brice needs to find better material, but his performances are believable. “Hard To Love” is one of my favorite guilty pleasures of the year, so I guess I’ll go with the latter?
Ben: Lee Brice strikes me as having the most potential of these nominees, but right now, I think the Brantley Gilbert virus has already spread too far.
Jonathan: Absolutely not.
Kevin: Hunter Hayes is the musical equivalent of those memes that show cats doing people things. He’s putting out real country music, and it’s adorable! All joking aside, I’m pulling for real country music wherever I can find it. Hayes is all I’ve got to work with here.
Leeann: I’m really not fond of any of these choices.
Album of the Year
Should Win:
Luke Bryan, Tailgates and Tanlines
Eric Church, Chief – Dan, Ben, Jonathan, Tara, Kevin, Leeann
Miranda Lambert, Four the Record
Dierks Bentley, Home
Lady Antebellum, Own the Night
Will Win:
Luke Bryan, Tailgates and Tanlines
Eric Church, Chief – Dan, Kevin
Miranda Lambert, Four the Record – Ben, Tara
Dierks Bentley, Home
Lady Antebellum, Own the Night – Jonathan, Leeann
Dan: Everyone but Bentley’s got a shot, but my hopeful guess is that this is where the CMA will reward Church.
Tara: Chief and Four the Record both made big impressions on me last year, but only the former has held up with time. I’ll be optimistic and predict the CMA will reward its reigning Female Vocalist of the Year over its reigning Group of the Year. (I still can’t get over Own the Night winning a Grammy, y’all. Unbelievable.)
Ben: Church’s Chief is head-and-shoulders above the rest of the field, but my gut is still predicting a Lambert and Shelton sweep, though there’s still a chance the voters may decide to reward that dreadful Lady A album instead.
Jonathan: Bright side: This is the last major “Album of the Year”-type award Own the Night is eligible to win. Downside: This is the last major “Album of the Year”-type award Own the Night will win, at the expense of far more deserving competition.
Kevin: I think Chief really made an impression, and I’m betting it was enough of one to win.
Leeann: I reflexively assume Lady A will win this award at this point, but I’m hoping for a Dierks Bentley or Eric Church win. Dierks Bentley’s album is quality and I feel Eric Church’s album is interesting and fresh.
Song of the Year
Should Win:
“Even If It Breaks Your Heart” – Will Hoge and Eric Paslay – Dan, Jonathan, Tara
“God Gave Me You” – Dave Barnes
“Home” – Dierks Bentley, Dan Wilson and Brett Beavers – Kevin, Leeann
“Over You” – Miranda Lambert and Blake Shelton
“Springsteen” – Eric Church, Jeff Hyde and Ryan Tyndell – Ben
Will Win:
“Even If It Breaks Your Heart” – Will Hoge and Eric Paslay – Dan, Tara
“God Gave Me You” – Dave Barnes – Leeann
“Home” – Dierks Bentley, Dan Wilson and Brett Beavers
“Over You” – Miranda Lambert and Blake Shelton – Ben, Jonathan
“Springsteen” – Eric Church, Jeff Hyde and Ryan Tyndell – Kevin
Dan: I think I’m just being optimistic, but maybe the earnest Hoge/Paslay story of struggling for an artistic life will resonate with enough music-industry vets to overcome the bait-ishness of “Over You” and “Home.” Maybe?
Tara: I’d be fine with three of these five winning — and would even argue that, as a composition, “God Gave Me You” is solid — but “Even If It Breaks Your Heart” has the most soul. I’m not entirely sure where the votes will fall on this one, but maybe pop culture’s spotlight on Nashville will mean a win for the songwriters’ anthem?
Ben: I can’t picture this going to anyone but Lambert and Shelton. If the CMA intends to keep working this ridiculous power-couple nonsense, they have created a golden opportunity here, and I highly doubt the song’s awfulness will be any hindrance.
Jonathan: If knowing a song’s tragic backstory is a requirement for finding “meaning” in that song, then its songwriters have failed.
Kevin: I’m hoping the CMA voters sing Shelton and Lambert’s song back to them when filling out their ballots, and pick the strongest singer-songwriter in this race. Bentley’s cut is my personal favorite.
Leeann: I just have a feeling that the bland love song will win, but I’m hoping that the thoughtful “Home” will prove me wrong.
Single of the Year
Should Win:
Jason Aldean, “Dirt Road Anthem” – Kevin
Blake Shelton, “God Gave Me You”
Dierks Bentley, “Home” – Leeann
Little Big Town, “Pontoon”
Eric Church, “Springsteen” – Dan, Ben, Jonathan, Tara
Will Win:
Jason Aldean, “Dirt Road Anthem” – Kevin
Blake Shelton, “God Gave Me You” – Ben, Leeann
Dierks Bentley, “Home” – Dan, Jonathan, Tara
Little Big Town, “Pontoon”
Eric Church, “Springsteen”
Dan: Feels like a toss-up, actually. I’d figure “Home” and “Springsteen” to duke it out, but remember that year when “I Saw God Today” randomly won?
Tara: “Home”’s graceful approach to patriotism is lovely and especially appreciated during this infuriating election season, but the song itself lacks spark. “Springsteen” is the better all-around record, and I think it’ll hold up with time, which is a lot more than I can say about the remaining three songs in the category.
Ben: I think “Springsteen” is going to be the song with the most staying power.
Jonathan: As fine a single as “Springsteen” is, I just can’t see the CMA rallying behind a song inspired by the Boss, especially not in an election year. Bentley’s thoughtful and relatively subtle brand of patriotism seems like a far safer bet.
Kevin: I think that Aldean’s track is the coolest sounding record of the five. Surface pleasures will suffice.
Leeann: Please not “Dirt Road Anthem”!
Musical Event of the Year
Should Win:
”Dixie Highway”- Alan Jackson and Zac Brown Band
”Feel Like a Rock Star” – Kenny Chesney and Tim McGraw
”Roll Me Up and Smoke Me When I Die” – Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson – Dan, Jonathan, Tara
”Safe and Sound” – Taylor Swift featuring the Civil Wars – Ben, Kevin, Leeann
”Stuck on You” – Lionel Richie and Darius Rucker
Will Win:
”Dixie Highway”- Alan Jackson and Zac Brown Band
”Feel Like a Rock Star” – Kenny Chesney and Tim McGraw – Ben, Jonathan, Leeann
”Roll Me Up and Smoke Me When I Die” – Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson
”Safe and Sound” – Taylor Swift featuring the Civil Wars – Dan, Kevin, Tara
”Stuck on You” – Lionel Richie and Darius Rucker
Dan: “Roll Me Up” is a little hoot. But “Safe and Sound” had a higher profile, and it gives CMA a chance to be like, “See? We do appreciate the Civil Wars!”
Tara: Every song but “Roll Me Up” feels like it’s lacking something (in Chesney/McGraw’s case, taste), but I think “Safe and Sound” will have enough commercial clout to nab this one.
Ben: While I’m always happy to see some Alan Jackson love, “Dixie Highway” just doesn’t match the simple charm of Jackson and ZBB’s previous collaboration. “Safe and Sound” is just such a cool, haunting record – one that brings out the best in both of the acts involved. But since “Feel Like a Rock Star” has the biggest names attached, I think it’s an easy call that it’s going to win.
Jonathan:“Safe and Sound” is my favorite track here, but not necessarily because it’s a great collaboration. “Roll Me Up,” on the other hand, is a fun standalone cut that feels like a real event, and I appreciate the self-awareness with which the artists toy with their public personas. But it’s hard to imagine more conservative voters being on-board with the phrase, “CMA award winner Snoop Dogg.” The Chesney and McGraw duet quite rightfully bricked at radio, but it’s still the most likely winner here on star power alone.
Kevin: “Safe and Sound” succeeded in pushing the most mainstream of artists into an alternative country sound without sacrificing the identity of the duo that helped her get there. Plus it actually worked as a theme song to a movie that didn’t exactly lend itself to easy theming.
Leeann: I’d be fine with any of these except for the one that will probably win.
Eric Church, “Springsteen” – Dan, Ben, Tara, Kevin
Kenny Chesney, “Come Over”
Miranda Lambert, “Over You”
Little Big Town, “Pontoon”
Toby Keith, “Red Solo Cup”
Will Win:
Eric Church, “Springsteen”
Kenny Chesney, “Come Over”
Miranda Lambert, “Over You” – Dan, Ben, Jonathan, Kevin
Little Big Town, “Pontoon”
Toby Keith, “Red Solo Cup”
Dan: The “Springsteen” video is pretty neato. Oh well.
Tara: The video for “Springsteen” is haunting. I dig it.
Jonathan: The Twilight-hued video for “Over You” is every bit as narrativeless, cloying, and shallow as the song itself, so I’m just going to pretend this is a retroactive win for “Kerosene.”
Kevin: (…Goes to YouTube to watch videos for first time…) Lambert, you had me until the horse. I’m going with Church, mostly because it reminds me of my own childhood and also Poltergeist for some reason.
Musician of the Year
Should Win:
Sam Bush – Jonathan, Kevin
Paul Franklin – Ben, Leeann
Dann Huff
Brent Mason
Mac McAnally
Will Win:
Sam Bush
Paul Franklin
Dann Huff – Jonathan, Kevin
Brent Mason
Mac McAnally – Ben, Leeann
Ben: It’s Paul Franklin’s turn… and it has been for years now.
Jonathan: It’s not as cool as Chris Thile’s winning a MacArthur Fellowship, but Sam Bush’s nomination for his extraordinary mandolin work is my favorite thing on the entire CMA ballot this year.
Kevin: I can’t vote against the mandolin. I just can’t.
Sometimes it has a happy ending, sometimes it doesn’t. But it always ends on the country boy’s terms. He’s sticking to his middlebrow lifestyle with or without her.
A fantasy? Of course it is. But it’s an appealing one that reinforces the intrinsic value of blue collar life, where the vast majority of hardworking men and women never get a ticket out.
Toby Keith’s music was his ticket out, and he’s made millions more than most of his fans will ever see. But it took him long enough to get there that he can still viscerally connect with his audience, and speak in their voice.
A lesser singer and writer couldn’t pull any of that off. In fact, most of the guys on the radio today would have built a weak song around the eye-catching title, instead of a strong song which is far more interesting than even its title suggests.
But Keith isn’t just one of the genre’s greatest singers and songwriters. He’s also one of its smartest. When he’s at his best, we get songs that celebrate the working man and the country boy without a whiff of condescension or pandering.
After first finding success as a smooth country balladeer, Toby Keith got in touch with his sense of humor and aggressive bravado. The combination made him one of the biggest country stars of the new century.
One of the few acts with primarily country roots to still get radio play, Keith cut his teeth on the music of Bob Wills and Merle Haggard while growing up in Oklahoma. Though he always made time for performing music, his first professional pursuits were in the oil fields and in semiprofessional football.
When both avenues were effectively closed for him, he pursued his music full-time, touring honky-tonks and recording demo tapes and sides for indie labels. One of his tapes led to a deal with Mercury Records, and it contained self-written songs which would become huge hits once sent to radio. He was a star out of the gate, reaching #1 with his first single, “Should've Been a Cowboy.” The 1993 hit would go on to become the most played song of the nineties.
Keith became a reliable star, consistently selling gold and platinum and scoring radio hits, but he felt limited by his image as a ballad singer in the same vein as Vince Gill. In 1999, he left Mercury for Dreamworks. His second single for them, “How Do You Like Me Now?!” , rebranded him as a tongue-in-cheek, cocky showman, and it set the stage for him to reach superstar status.
He won the CMA trophy for Male Vocalist in 2001, but he truly hit the pinnacle of his fame the following year when he released “Courtesy of the Red, White, and Blue (The Angry American.)” It laid the foundation for two consecutive albums selling over four million copies, and complete domination of the radio dial, with several multi-week #1 singles that became signature songs for Keith.
His massive success led to him opening up his own label, Show Dog Records, which now has a partnership with Universal Music. Keith's record sales slowed with the new label, but overall he's doing better because of his larger financial stake in the label and the success of his restaurant chain Toby Keith's I Love This Bar and Grill.
Most recently, Clancy's Tavern became his first album in three years to earn a gold certification, and his first in six to produce three top ten radio hits. “Red Solo Cup”, a novelty song from the set, has become Keith's biggest single in years, and as a result, exposed him to a new, younger audience.
Essential Singles:
Should've Been a Cowboy, 1993
Who's That Man, 1994
How Do You Like Me Now?!, 1999
Courtesy of the Red, White, and Blue (The Angry American), 2002
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Something you probably already know about us here at Country Universe: We love country music. A lot. While truly great country music has become scarce on country radio, we are fortunate to live in an age in which modern technology has made great music more accessible than ever, regardless of whether Top 40 radio dares touch it.
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