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.
Music Video of the Year
Should 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.
An awesome throwback that recalls the great class-crossed lovers anthems without borrowing too heavily from them.
Yes, it’s been done before, by John Conlee, Travis Tritt, and Randy Travis, just to name a few. The rich girl that falls for the roughneck country boy, who just can’t handle that high society.
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
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, Chief – Dan, 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 Party – Dan, Ben, Sam
Lady Antebellum, Own The Night – Jonathan, 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.
He always sings. No auto-tune, no “let the backup singers do the heavy lifting.” Just real, pure singing.
“Beers Ago” is typical country nostalgia, but there’s a vibrancy to it because of Keith’s skill as a vocalist. There’s an urgency there that makes it sound like he could sing his way back there, simply by the sheer will of his voice.
And who else could pull of a line about “the man in the moon working his magic on the second runner up of the 4H pageant”? It’s like he didn’t get the memo that this was a filler track, and he ended up with a solid record.
The terrorist attacks on American soil ten years ago changed the course of our nation’s history in far more significant ways than just its impact on country music.
But the fact is that country music was changed as well. Here are the four biggest ways that it did, for better and for worse.
1. Alan Jackson Becomes a Legend
He was still getting solid radio airplay and record sales in 2001, but it seemed like his glory days were behind him. Then, he stepped on to the CMA Awards stage and debuted “Where Were You (When the World Stopped Turning)” to a stunned industry crowd on national television.
It was the perfect song by the perfect artist at the perfect time, and it launched an amazing return to the head of the pack. The commercial success was great, but it’s worth noting that “Where Were You” served notice that he was undergoing an artistic renaissance as well. The big hits that followed – “Drive (For Daddy Gene)”, “It’s Five O’ Clock Somewhere,” and “Remember When” – were the best of his career. Heck, of anybody’s career.
2. Toby Keith Becomes a Superstar
On the same night that Jackson performed his instant classic, Toby Keith just sang his latest hit, the novelty number “I Wanna Talk About Me.” But the following spring, he came out with the next quintessential post-9/11 anthem, “Courtesy of the Red, White and Blue.”
While it didn’t lead to nearly the same level of artistic growth that Jackson experienced, it did launch Keith into the rarefied air of country superstardom. For most of the next decade, he’d be an instant add at radio. And if some of those hits made us wince, it was still great to see the finest male vocalist of his generation get his due. For those of us who thought that he was robbed at radio and industry award shows in the nineties, it was rewarding to see him have his day.
3. The Politicization of Country Music
National unity began to fade in the run up to our invasion of Iraq, and country radio picked a side, much to the detriment of the format. The shamelessly jingoistic “Have You Forgotten?” became a seven week #1 for Darryl Worley, while a criticism of President Bush wiped the Dixie Chicks off of the radio dial.
The upshot? Country radio sent the message that if you weren’t on board with the Bush Administration, you better keep your mouth shut. Then again, with Worley’s career fading soon after “Have You Forgotten?”, opening it was no guarantee for long-term success, either.
4. Female Domination of the Genre Evaporates
This was the worst of it. Country record sales exploded in 2002, and the industry credited it to traditionalists Jackson and Keith. Radio drew the conclusion that listeners didn’t want any more pop-flavored country, despite the fact that two of the biggest selling albums of the year were by Shania Twain and Faith Hill.
Both ladies struggled at radio with their top-selling projects, and the careers of Lee Ann Womack and SHeDaisy nearly ended. Even ten years later, with the top-selling artists being Taylor Swift and Carrie Underwood, most female artists are still struggling to get radio play.
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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