Tag Archives: Toby Keith

400 Greatest Singles of the Nineties: #250-#226

A lot of songs from both ends of the charts here, including a husband-and-wife duet that spent six weeks at #1.

400 Greatest Singles of the Nineties: #250-#226

#250
I Meant Every Word He Said
Ricky Van Shelton
1990 | Peak: #2

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At least the third song on this list about a guy mulling over romantic gestures he wishes he’d made to his former love, and the most traditional among those songs. You could easily imagine this one being a minor classic by a 60’s or 70’s legend, so close is its replication of that style. – Dan Milliken

#249
I’m So Happy I Can’t Stop Crying
Toby Keith with Sting
1997 | Peak: #2

Listen

My hard-and-fast rule for Toby Keith: The sadder he is, the happier the listening experience tends to be. He’s all kinds of sad in this snapshot of post-divorce melancholia, reflecting on everything from unfair custody protocol to the greater motions of the universe. Even a gratuitous Sting cameo can’t detract from the single’s gloomy grandeur. – DM

#248
You Ain’t Much Fun
Toby Keith
1995 | Peak: #2

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Toby Keith is also funny, though. What’s a man to do? Sobering up ain’t all that it’s cracked up to be from is perspective. Ever since he’s done so, his wife has been taking advantage of his increased functionality by giving him honey-do lists that he wasn’t ably tackling pre-sobriety. It’s enough to drive a man to drink. – Leeann Ward

#247
Tender Moment
Lee Roy Parnell
1993 | Peak: #2

Listen

Actions speak louder than words. – KC

#246
Go Rest High On That Mountain
Vince Gill
1995 | Peak: #14

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Every once and awhile an artist delivers a song so powerful that it seems to shatter all divides in its genre. A tribute to both the late Keith Whitley and Gill’s late brother, “Go Rest High On That Mountain” pairs deeply spiritual lyrics with a tender, emotion-soaked performance. The combination is magic. – TS

#245
Nothing
Dwight Yoakam
1995 | Peak: #20

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Living up to its title, the Yoakam’s barren heart and soul are replicated in the arrangement of the song.  If emptiness has a sound, this is it. – Kevin Coyne

#244
(Who Says) You Can’t Have it All
Alan Jackson
1994 | Peak: #4

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Jackson more than earns his neo-traditional street cred thanks to this song. Just soak up that lonesome steel guitar! – LW

#243
It’s Your Love
Tim McGraw with Faith Hill
1997 | Peak: #1

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A good power ballad shot to greatness by its artists’ striking chemistry – palpable, fiery and so very genuine. More than just a hit single, “It’s Your Love” represents the moment in country music history at which we were introduced to one of its definitive couples. – TS

#242
Grandpa Told Me So
Kenny Chesney
1995 | Peak: #23

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Amidst a collection of country life lessons passed down from two generations back is one to live by: “There’ll be times that you want to hold on but you’ve got to let go.” – KC

#241
Thank God For You
Sawyer Brown
1993 | Peak: #1

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This man has a lot to thank God for, including stereotypical parental figures, but he’s most thankful for his girl. – LW

#240
I Never Knew Love
Doug Stone
1993 | Peak: #2

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An earnest, soulful confession of love. It’s hard to ignore the fact that it leans more in the adult-contemporary direction than that of anything else, but when a song is this moving, it’s also hard to care. – TS

#239
What She’s Doing Now
Garth Brooks
1992 | Peak: #1

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In an unusual tact for Mr. Brooks, he forgoes melodrama in order to allow the natural drama of pining for a lost love to speak for itself. The dialed down performance works in the service of the song, as the sadness appropriately penetrates through. – LW

#238
Find My Way Back to My Heart
Alison Krauss & Union Station
1997 | Peak: #73

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Some of the best songs from AKUS play on the home life that’s sacrificed by following the musical dream. Krauss remembers how she used to laugh at songs about the lonely traveling life, but she’s not laughing now. – KC

#237
I Know
Kim Richey
1997 | Peak: #72

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It takes more than self-awareness to mend a broken heart. – KC

#236
Leave Him Out of This
Steve Wariner
1991 | Peak: #6

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A man makes a soaring yet understated plea for his lover to let go of her past love. The song is made sadder by the touch of resignation in Wariner’s performance, which suggests the man knows he’s making his plea in vain. – TS

#235
Just My Luck
Kim Richey
1995 | Peak: #47

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Roba Stanley once sang about the joys of the single life and its simplicities.  Richey is about to leave it behind, and wonders just how lucky that makes her. – KC

#234
What if I Do
Mindy McCready
1997 | Peak: #26

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A whole song about deciding whether or not to go all the way with one’s movie date. McCready gives a fantastically entertaining performance, speak-singing her lines with a a bold campiness that most other gals wouldn’t dare. – DM

#233
Chasin’ That Neon Rainbow
Alan Jackson
1990 | Peak: #2

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Stories of would-be stars trying to make it big in Nashville are nothing too novel, but Jackson’s plucky earnestness gives this one an accessibility many of the others lack. – DM

#232
Now That’s All Right With Me
Mandy Barnett
1996 | Peak: #43

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The other great Barnett single of the era, fusing Patsy Cline-style vocal class, Pam Tillis-style production and Gloriana-style youthful exuberance. – DM

#231
With You
Lila McCann
1999 | Peak: #9

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Ten years before “You Belong With Me” made its splash, McCann set her sights on the same demographic with a song just as relatable, vibrant and passionate. That the song lacks Taylor Swift’s sharp perspective is perhaps what makes it such a great record: there’s something so pure about McCann’s fully unapologetic, headfirst fall into love. – TS

#230
My Maria
Brooks & Dunn
1996 | Peak: #1

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The rare country cover of a pop song that improves on the original. No offense, B.W. Stephenson. – DM

#229
Boom! It Was Over
Robert Ellis Orrall
1992 | Peak: #19

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How far can an amazing song title carry you? All the way to #229, that’s how far! – DM

#228
Somewhere in My Broken Heart
Billy Dean
1991 | Peak: #3

Listen

So simple and plain in its heartbreak, and so understated and quiet in its delivery.  – KC

#227
I Just Wanted You to Know
Mark Chesnutt
1993 | Peak: #1

Listen

Chesnutt makes a phone call to an old love that could be construed as creepy, pathetic or terribly sad – take your pick. I’m going with a mixture of all three, with a pinch of selfishness thrown in. Either way, “I Just Wanted You to Know” is a memorable slice of the-one-that-got-away reality.- TS

#226
I’m Gonna Be Somebody
Travis Tritt
1990 | Peak: #2

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In the twenty years that passed since the release of this song, the path to success in the music industry has morphed into something that looks very different than it used to. Unlike that of Bobby in the song, these days an artist’s journey can come in all shapes and forms, sometimes abrupt and sometimes completely unprecedented.

Think what you want about this paradigm shift, but here’s what I believe: regardless of how you shoot to the top, the only way you’ll achieve longevity and, most importantly, respect in country music is if you share the fire in Bobby’s eyes. This soul-stirring hunger and unshakable passion is the heart of “I’m Gonna Be Somebody” and the reason it remains a timeless classic. Here’s to hoping – and I’m optimistic – our modern artists are made of the same stuff. – TS

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400 Greatest Singles of the Nineties: #275-#251

This section begins with a song about a farmer and his wife and ends with one about Mama. Doesn’t get much more country than this!

400 Greatest Singles of the Nineties: #275-#251

#275
Somewhere Other Than the Night
Garth Brooks
1992 | Peak: #1

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About a woman who only feels truly appreciated by her husband when they’re having sex. Practically literature, that. – Dan Milliken

#274
Looking Out For Number One
Travis Tritt
1993 | Peak: #11

Listen

From his rocking side, Tritt is tired of trying to please everyone around him, including his demanding lover. As a result, he brashly declares that he’s going to make some changes, which will include looking out for himself. Get out of the way, because his ferocious performance makes him seem quite serious about his epiphany. – Leeann Ward Continue reading

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400 Greatest Singles of the Nineties: #300-#276

The list continues with appearances from artists who first surfaced in the eighties and continued to thrive into the nineties, like Reba McEntire and Patty Loveless, along with new stars from the nineties who would find greater success in the next decade, like Toby Keith and Brad Paisley.

400 Greatest Singles of the Nineties: #300-#276

#300
Does He Love You
Reba McEntire with Linda Davis
1993  |  Peak: #1

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This two-female duet was a gamble at the time of its release, but it offers such a brilliant fusion of perspectives that it’s hard to imagine why. The song fleshes out the range of emotions that the two women are experiencing –from pain to longing to self-doubt– and culminates in one shared question that they’ll never know the answer to: “does he love you like he’s been loving me?” – Tara Seetharam Continue reading

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400 Greatest Singles of the Nineties: #350-326

A few should’ve been hits are mixed in with genuine smashes as the countdown continues.

400 Greatest Singles of the Nineties: #350-#326

#350
How Do I Live
Trisha Yearwood
1997  |  Peak: #2

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When Yearwood and LeAnn Rimes released dueling versions of this song in 1997, it was apparently a wake up call to country listeners: “Hey, wait a minute. Trisha Yearwood is an amazing singer!”  She elevates “How Do I Live” beyond its movie theme nature by adding layers of subtlety and nuance to the typical Diane Warren template. – Kevin Coyne

#349
Boot Scootin’ Boogie
Brooks & Dunn
1992  |  Peak: #1

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I don’t claim to have any real knowledge of what it’s like to spend a night at the liveliest of honky-tonks, but I’ll be darned if this song doesn’t make me feel like I do. Because “Boot Scootin’ Boogie” isn’t really about a specific place where people go, and it isn’t even about the boogie itself; it’s about the universal thrill of busting out of the work week, kicking back and dancing your troubles away. From start to finish, Brooks & Dunn’s performance is a twangy blast of exhilaration, and that’s a feeling we can all relate to – outlaws, in-laws, crooks and straights alike. – Tara Seetharam

#348
Don’t Take Her She’s All I Got
Tracy Byrd
1997  |  Peak: #4

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Just a damn catchy trad country sing-a-long. It was good fun when Johnny Paycheck had the original hit with it, and lost none of its steam when Tracy Byrd resurrected it for a new audience twenty-six years later. – Dan Milliken Continue reading

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400 Greatest Singles of the Nineties: #375-351

The second segment of our countdown includes the first appearances by Garth Brooks and Reba McEntire, two of the biggest-selling stars of the decade.

#375
How Do I Get There
Deana Carter
1997 |  Peak: #1

It’s always a gamble when friends decide to take their relationship to the next level. “How Do I Get There” explores the struggle of following one’s heart, even though it’s taking a big emotional risk to do so. – Leeann Ward

#374
If I Could Make a Living
Clay Walker
1994  |  Peak: #1

This song is either ridiculously cheesy or irresistibly cheesy depending on your taste, but there’s no denying Walker sells the heck out of it with charm and enthusiasm. – Tara Seetharam

#373
It Sure is Monday
Mark Chesnutt
1993  |  Peak: #1

Mark Chesnutt is one of the best male vocalists of the nineties, but there were many times when he did not always rise to the challenge of conveying the energy to elevate a decent song to a good one. Case in point: “Friends in Low Places”, which was eventually properly energized by Garth Brooks. “It Sure Is Monday”, however, is a positive example of Chesnutt actually making a song his own by demonstrating the ability to breathe life into a decent song and make it really good. – LW Continue reading

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How Very Nineties: George Jones & Friends, and other All Star Jams

New fans of country music in the nineties were hit over the head with the assertion that country music was one big family. Nothing demonstrated this mythos better than the all star jams that cropped up during the boom years.

There were some variants of this approach.  A popular one found a veteran star teaming up with one or more of the boom artists to increase their chances of radio airplay.  George Jones was big on this approach, with the most high profile attempt being “I Don’t Need Your Rockin’ Chair.”   Seventeen years later, it’s amazing to see how young everyone looks – even Jones himself!

Jones shared the CMA Vocal Event of the Year trophy for that collaboration with Clint Black, Garth Brooks, T. Graham Brown, Mark Chesnutt, Joe Diffie, Vince Gill,  Alan Jackson, Patty Loveless, Pam Tillis, and Travis Tritt.   He’d continue with this approach by teaming up with his vocal chameleon Sammy Kershaw on “Never Bit a Bullet Like This”, and he recorded an entire album of his own songs as duets with mostly younger stars. The Bradley Barn Sessions was represented at radio with “A Good Year For the Roses”, which found him singing one of his best hits with Alan Jackson:

Among the legends, the only other one to be successful with this approach was Dolly Parton, who used collaborations with young stars to score consecutive platinum albums for the first and only time in her career.  Her 1991 set Eagle When She Flies was powered by the #1 single “Rockin’ Years”, co-written by her brother and sung with Ricky Van Shelton:

That album also included a duet with Lorrie Morgan on “Best Woman Wins.”  She upped the bandwagon ante on Slow Dancing With the Moon, bringing a whole caravan of young stars on board with her line dance cash-in “Romeo.”

That’s Mary Chapin Carpenter, Billy Ray Cyrus, Kathy Mattea, and Tanya Tucker in the video. Pam Tillis isn’t in the clip, but she sings on the record with them.  Parton also duets with Billy Dean on that album on “(You Got Me Over a) Heartache Tonight.”

Her next collaboration was with fellow legends Loretta Lynn and Tammy Wynette, but they couldn’t resist the temptation to squeeze in several younger stars in the video for “Silver Threads and Golden Needles.”  Alongside veterans like Chet Atkins,  Bill Anderson, and Little Jimmy Dickens, you’ll catch cameos from Mark Collie, Confederate Railroad, Rodney Crowell, Diamond Rio, Sammy Kershaw, Doug Stone, and Marty Stuart.

Parton scored a CMA award when she resurrected “I Will Always Love You” as a duet with Vince Gill:

And while it didn’t burn up the charts, her version of “Just When I Needed You Most” with Alison Krauss and Dan Tyminski:

Tammy Wynette made an attempt to connect with the new country audience with her own album of duets, Without Walls.  Her pairing with Wynonna on “Girl Thang” earned some unsolicited airplay:

Perhaps the most endearing project in this vein came from Roy Rogers.  How cool is it to hear him singing with Clint Black?

The new stars liked pairing up with each other, too.  A popular trend was to have other stars pop up in music videos.  There’s the classic “Women of Country” version of “He Thinks He’ll Keep Her”, for starters. Mary Chapin Carpenter sounds pretty darn good with Suzy Bogguss, Emmylou Harris, Patty Loveless, Kathy Mattea, Pam Tillis, and Trisha Yearwood on backup:

That’s a live collaboration, so at least you hear the voices of the other stars. But Vince Gill put together an all-star band for his “Don’t Let Our Love Start Slippin’ Away” video without getting them to actually play.  That’s Little Jimmy Dickens, Kentucky Headhunters, Patty Loveless, Lee Roy Parnell, Carl Perkins, Pam Tillis, and Kelly Willis behind him, with Reba McEntire reprising her waitress role from her own “Is There Life Out There” clip.

My personal favorite was Tracy Lawrence’s slightly less A-list spin on the above, with “My Second Home” featuring the future superstars Toby Keith, Tim McGraw, and Shania Twain, along with John Anderson, Holly Dunn, Hank Flamingo, Johnny Rodriguez, Tanya Tucker, Clay Walker, and a few people that I just can’t identify.


Humor Videos
Tracy Lawrence – My Second Home

For pure star wattage, it took the bright lights of Hollywood to get a truly amazing group together. The Maverick Choir assembled to cover “Amazing Grace”, and it doesn’t get much better than country gospel delivered in a barn by John Anderson, Clint Black, Suzy Bogguss, Billy Dean, Radney Foster, Amy Grant, Faith Hill, Waylon Jennings, Tracy Lawrence, Kathy Mattea, Reba McEntire, John Michael Montgomery, Restless Heart, Ricky Van Shelton, Joy Lynn White, and Tammy Wynette.

What’s your favorite of the bunch? Any good ones I missed?

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Single Review: Brad Paisley, “Water”

For Brooks & Dunn, it was “Beer Thirty.”

For George Strait, it was “True.”

For Toby Keith, it was “Whiskey Girl.”

For Shania Twain, it was “Party For Two.”

For every great country artist, there’s a song that screams, “I’m not even trying anymore.”

For Brad Paisley, it’s “Water.”

Written by Chris DuBois, Kelley Lovelace, and Brad Paisley

Grade: C-

Listen: Water

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Single Review: Toby Keith, “Every Dog Has Its Day”

If I follow the metaphor correctly, Toby Keith’s the dog and his lady is the bone that’s been tossed in his direction.

“Every Dog Has Its Day” approaches “Bad Dog, No Biscuit” in the pantheon of horrifically cheesy and terribly executed country metaphors.  It should be beneath the dignity of one of the genre’s finest male vocalists ever.

If he was George Jones, this would be his “High-Tech Redneck.”

Written by Toby Keith, Bobby Pinson, and John Waples

Grade: F

Listen: Every Dog Has Its Day

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2010 ACM Awards: Staff Picks & Predictions

Nashville takes over Vegas this Sunday for the 45th Annual Academy of Country Music Awards, and it could actually be an interesting night. Eight acts are vying for Entertainer of the Year, one trio is poised to sweep the show, and a certain artist’s performance may solidify her as Music Row’s Lady Gaga. We’ll find out for sure Sunday at 8 pm Eastern, but in the meantime, we’ve picked ‘em and predicted ‘em. Sound off in the comments below.

Entertainer of the Year

Should Win:

  • Kenny Chesney
  • Toby Keith
  • Brad Paisley – Tara
  • George Strait – Kevin
  • Taylor Swift
  • Carrie Underwood
  • Keith Urban
  • Zac Brown Band – Dan, Leeann

Will Win:

  • Kenny Chesney
  • Toby Keith
  • Brad Paisley
  • George Strait
  • Taylor Swift – Dan, Tara, Kevin, Leeann
  • Carrie Underwood
  • Keith Urban
  • Zac Brown Band

Kevin: While I suspect that this will be the end of her impressive awards show victory lap, Swift should easily win this award. Does she deserve it? Probably. If I was an ACM voter (traditional member or willing to go vote online), I guess that I’d vote for George Strait, though my favorite among those with a real shot at this is Carrie Underwood.

Leeann: I predict Swift, though I don’t know if the backlash against her will thwart my prediction. Then again, the fan voting debacle will likely still work in her favor. I’ll throw my personal vote to Zac Brown Band, since I’ve really dug their live performances that I’ve seen on television. They seem like natural entertainers.

Dan: Fan-voted = Taylor Swift, with a possible Underwood repeat. But Swift hasn’t been as interesting post-Grammys. So I’ll also go with our resident grassroots heroes, ZBB.

Tara: One of the most rewarding aspects of being a five-year Underwood fan has been watching her stage presence gradually become as killer as her vocals, resulting in a powerful combination. I’d love for this to be properly recognized, and rationale seems pointless now that the EOTY race is a glorified internet fan war…but I can’t ignore that Underwood spent most of 2009 off stage. I’m going with Paisley.

Top Male Vocalist of the Year

Should Win:

  • Kenny Chesney
  • Brad Paisley – Tara, Dan, Leeann
  • Darius Rucker
  • George Strait
  • Keith Urban – Kevin

Will Win:

  • Kenny Chesney
  • Brad Paisley – Kevin, Leeann
  • Darius Rucker – Dan
  • George Strait – Tara
  • Keith Urban

Dan: It feels like Paisley’s winning streak may be just about up, which is a shame, since this year has actually been stronger material-wise for him than the years for which he’s won. Honestly, as much as I hate to say it, Jason Aldean had a bigger year than any of these guys.

Tara: Paisley and Strait were the only two who impressed me in 2009, and Paisley’s material feels fresher and more interesting. But I agree with Dan that his winning streak has probably run its course, so I’ll go out on a limb and say Strait will be the one to edge him out.

Kevin: I agree with Dan but suspect that there isn’t another nominee with enough momentum to upset the status quo in this race. If I’m wrong, I hope it’s because Urban or Strait pull it off.

Leeann: I think Paisley just might have another year of winning left in him.

Top Female Vocalist of the Year

Should Win:

  • Miranda Lambert – Dan, Leeann
  • Reba McEntire – Kevin
  • Taylor Swift
  • Carrie Underwood – Tara
  • Lee Ann Womack

Will Win:

  • Miranda Lambert – Kevin, Leeann
  • Reba McEntire
  • Taylor Swift – Dan
  • Carrie Underwood – Tara
  • Lee Ann Womack

Tara: It’s really a toss-up between Lambert and Underwood for me, with personal preference and investment swaying me towards the latter artist. I’m eerily optimistic that the ACM voters will stick to the truest sense of the award’s title – as I adamantly believe they should – and sidestep Swift.

Kevin: This is the first time in my twenty years as a country fan that I’m rooting for Reba McEntire to win Female Vocalist, though I wanted her to win Entertainer every year she was nominated in the nineties. Consider me smitten by “Consider Me Gone.” As always, I’d be happy with an Underwood victory and I wouldn’t mind Womack or Lambert, either. I’m guessing that Lambert will actually win, given her widespread appeal among ACM voters and the fact that she’s had a big radio and retail breakthrough during the voting period.

Leeann: The Academy seems to like Lambert pretty well. Since this has been her biggest year to date, it’s hard for me to imagine that she won’t be rewarded for it.

Dan: I’m going to cautiously predict that Swift’s CMA win will carry over to ACM, but Underwood has been reliably successful, and Lambert’s got stronger momentum than ever. The latter is also my favorite mainstream act at the moment, so it’s a no-brainer that I’m rooting for her to take it.

Top Vocal Group of the Year

Should Win:

  • Lady Antebellum
  • Little Big Town
  • Randy Rogers Band
  • Rascal Flatts
  • Zac Brown Band – Dan, Tara, Kevin, Leeann

Will Win:

  • Lady Antebellum – Dan, Tara, Kevin, Leeann
  • Little Big Town
  • Randy Rogers Band
  • Rascal Flatts
  • Zac Brown Band

Leeann: Lady A has the hype and momentum that makes it impossible for me to bet against them. I’d sure love to see ZBB prove me wrong ,though.

Dan: Little Big Town’s new single has me thinking I’ll probably be gunning for them again soon, but for now, I’m with Zac Brown Band.

Tara: I have a feeling the coming year(s) is going to be Lady Antebellum’s year o’ accolades, so I’d like to see the equally deserving Zac Brown Band pick this one up while they still have some momentum.

Kevin: This is becoming a habit. Predict LA, root for ZBB. This was so much easier when the Dixie Chicks were in the running.

Top Vocal Duo of the Year

Should Win:

  • Brooks & Dunn
  • Joey + Rory
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland – Kevin, Tara, Leeann

Will Win:

  • Brooks & Dunn – Dan, Tara, Leeann
  • Joey + Rory
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland – Kevin

Kevin: A sympathy vote might give B&D one more trophy, but it seems that both the CMA and ACM see this award as one that is passed down from one duo to the next, and not very often at that. I wonder if they will be calling this “The Sugarland Award” like it was once called “The Judds Award” and “The Brooks & Dunn Award.”

Leeann: I’d love to see Joey + Rory win, but I know it wouldn’t actually be fair if they did. So, I’m not officially picking them here. I’m pretty sure this one will go to Brooks & Dunn as a parting gift, though they’d be totally undeserving at this point. Really, Sugarland is probably the duo that makes most sense. It’s just too bad I’m not more personally invested in them, though I’ve warmed up a bit.

Dan: Sugarland have been off the radar since “Joey” trailed off months ago, and I still remember how ACM stuck with Brooks & Dunn that one year even after CMA had passed the torch. So I see the veteran duo winning again in a shrug. I’m indifferent, personally.

Tara: I keep going back on forth on this one. I want Brooks & Dunn to win, but I can’t rationalize it. I think the ACM voters may feel the same.

Top New Artist of the Year

Should Win:

  • Luke Bryan
  • Joey + Rory – Kevin, Dan, Tara, Leeann
  • Gloriana

Will Win:

  • Luke Bryan – Kevin, Dan
  • Joey + Rory
  • Gloriana – Tara, Leeann

Kevin: It’s categories like this that make me feel out of touch with contemporary country music. I love Joey + Rory, but can’t see them winning. Who’s bigger now, Bryan or Gloriana? I’m taking a guess here.

Leeann: I’m like Kevin. I love Joey + Rory, but don’t imagine they’ll have enough votes to win. So, between Bryan and Gloriana, I’ll flip a coin and predict the latter.

Dan: Given the fan vote, I imagine this award will boil down to whether or not Taylor Swift has been urging her peoples to back Gloriana like she did with the AMAs. She hasn’t tweet-commanded it, and that’s as much research as I’m willing to do on the subject. So I’ll go with Bryan.

Tara: My best guess is that there’s enough fan overlap for Swift’s votes to lift Gloriana to victory.

Album of the Year

Should Win:

  • Brad Paisley, American Saturday Night
  • Lady Antebellum, Lady Antebellum
  • Miranda Lambert, RevolutionTara, Dan, Leeann
  • Carrie Underwood, Play OnKevin
  • Zac Brown Band, The Foundation

Will Win:

  • Brad Paisley, American Saturday Night
  • Lady Antebellum, Lady AntebellumKevin, Dan, Leeann
  • Miranda Lambert, RevolutionTara
  • Carrie Underwood, Play On
  • Zac Brown Band, The Foundation

Kevin: I’m expecting a Lady Antebellum sweep. They’re just ridiculously popular right now. But I could see any one of these five winning. I revisit the Underwood set more than any of the others.

Leeann: I can’t ignore Lady A’s popularity right now, but I’d love to see Lambert be recognized for one of my two favorite albums on this list, Paisley’s album being the other one.

Dan: Revolution doesn’t have the punch or consistency of Crazy Ex-Girlfriend, but it’s got some brains, and I like that. I’m expecting a Lady A sweep too, though.

Tara: If my co-bloggers are right about a Lady A sweep, I’ll be pleased to see the trio’s underrated debut album take this award. But frankly, every album in this line-up is substantial, authentic and layered. I’m backing Revolution because it’s the sharpest of them all, created by the artist who has the firmest grasp on her potential.

Single Record of the Year

Should Win:

  • Lady Antebellum, “Need You Now” – Tara, Kevin, Leeann
  • Billy Currington, “People Are Crazy”
  • David Nail, “Red Light”
  • Zac Brown Band, “Toes” – Dan
  • Miranda Lambert, “White Liar”

Will Win:

  • Lady Antebellum, “Need You Now” – Tara, Dan, Kevin, Leeann
  • Billy Currington, “People Are Crazy”
  • David Nail, “Red Light”
  • Zac Brown Band, “Toes”
  • Miranda Lambert, “White Liar”

Kevin: There’s only one career-changing single in the running here.

Leeann: Ditto to Kevin. But also, it’s my favorite in terms of melody.

Dan: I swear I’m not just being a spoilsport. I know “Need You Now” sounds great, and in many respects it was the single of the year. But I can’t get past how boring Lady A’s lyrics always are. There’s just not a single original phrase in that song, and it puts a damper on my experience listening to it.

Tara: It’s never been my personal favorite, but “Need You Now” finds the trio excelling at what it does best – honing in on specific, raw emotion and expressing it potently and believably. In a category as weak as this one, and with a performance as haunting as Scott’s, “Need You Now” is the clear winner.

Song of the Year

Should Win:

  • “Cowboy Casanova” – Mike Elizondo, Brett James & Carrie Underwood
  • “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott – Tara, Kevin, Leeann
  • “People Are Crazy” – Bobby Braddock & Troy Jones
  • “White Liar” – Natalie Hemby & Miranda Lambert
  • “You Belong With Me” – Liz Rose & Taylor Swift – Dan

Will Win:

  • “Cowboy Casanova” – Mike Elizondo, Brett James & Carrie Underwood
  • “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott – Dan
  • “People Are Crazy” – Bobby Braddock & Troy Jones
  • “White Liar” – Natalie Hemby & Miranda Lambert
  • “You Belong With Me” – Liz Rose & Taylor Swift – Tara, Kevin, Leeann

Kevin: I like the writing of “Need You Now” more than the performance, even if it’s just a college dorm knock-off of “I May Hate Myself in the Morning.” I range from indifference to active dislike for the rest of these entries.

Leeann: I think Lady A will sweep these awards, but I doubt that Swift will walk away with nothing. Since she’s most lauded for her songwriting skills, I predict that the Academy will continue the trend in this category.

Dan: “You Belong with Me” combines a memorable melody with telling details. Subject matter notwithstanding, it’s the only one of these songs I take seriously as a composition.

Tara: Unlike Kevin, I think “Need You Now” is better performed than written, but it’s still a great composition. I wouldn’t mind if Swift took this award, though.

Video of the Year

Should Win:

  • Randy Houser, “Boots On”
  • Lady Antebellum, “Need You Now”
  • Brad Paisley, “Welcome to the Future”
  • Miranda Lambert, “White Liar” - Kevin
  • Taylor Swift, “You Belong With Me” – Dan, Tara

Will Win:

  • Randy Houser, “Boots On”
  • Lady Antebellum, “Need You Now”
  • Brad Paisley, “Welcome to the Future”
  • Miranda Lambert, “White Liar”
  • Taylor Swift, “You Belong With Me” – Dan, Tara, Kevin

Tara: The “You Belong With Me” video is brilliant in that it embodies everything that makes Swift relevant and appealing. I just really wish Paisley’s video had been better directed, because its message is so compelling.

Dan: That Swift video is mega-charming. But Lambert’s is a close second.

Kevin: I’m rooting for the only video I don’t reflexively skip past while channel surfing.

Vocal Event of the Year

Should Win:

  • Blake Shelton feat. Trace Adkins, “Hillbilly Bone”
  • Brooks & Dunn feat. Billy Gibbons, “Honky Tonk Stomp”
  • Carrie Underwood feat. Randy Travis, “I Told You So” – Tara, Kevin, Dan, Leeann
  • Kenny Chesney with Dave Matthews, “I’m Alive”
  • Jack Ingram with Patty Griffin, “Seeing Stars”

Will Win:

  • Blake Shelton feat. Trace Adkins, “Hillbilly Bone” – Dan, Tara
  • Brooks & Dunn feat. Billy Gibbons, “Honky Tonk Stomp”
  • Carrie Underwood feat. Randy Travis, “I Told You So” – Kevin, Leeann
  • Kenny Chesney with Dave Matthews, “I’m Alive”
  • Jack Ingram with Patty Griffin, “Seeing Stars”

Kevin: Nice to see Griffin on the ballot, but “I Told You So” is among both my favorite Underwood and favorite Travis singles.

Leeann: Frankly, I’m not crazy about any of them, as long as the B&D collaboration doesn’t get the token vote.

Dan: Wish I liked “Seeing Stars” more. I’d actually probably go with presumptive favorite “Hillbilly Bone” if the song itself didn’t feel like such a Music Row toss-off. There’s charm in the idea and performances, but again, limp lyrics.

Tara: Underwood and Travis’ collaboration is the strongest and most exquisite of the bunch, but it feels a little like old news, with the news of the day being the inescapable (but nonetheless solid) “Hillbilly Bone.”

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ACM Flashback: Single Record of the Year

As with the similar CMA category of Single of the Year, looking over the history of this category is the quickest way to get a snapshot of country music in a given year.  There is a quite a bt of consensus among the two organizations here, and it is very rare for the winner at one show to not at least be nominated at the other. The winners list here would make a great 2-disc set of country classics, at least for those who don’t mind a little pop in their country. The ACM definitely has more of a taste for crossover than its CMA counterpart, and the organizations have only agreed on 17 singles in the past four decades and change.

As always, we start with a look at this year’s nominees and work our way back to 1968.

2010

  • Zac Brown Band, “Toes”
  • Billy Currington, “People Are Crazy”
  • Lady Antebellum, “Need You Now”
  • Miranda Lambert, “White Liar”
  • David Nail, “Red Light”

There’s usually a “Huh?” nominee among the ACM list in recent years.  This year, it’s David Nail.  Good for him!  Currington hasn’t won yet for this hit, even though he got himself a Grammy nomination for it.  With Lady Antebellum reaching the upper ranks of the country and pop charts with “Need You Now”, my guess is that they’re the presumptive favorites. Then again, Miranda Lambert is a nominee for the third straight year, and she’s up for her biggest radio hit.

2009

  • Trace Adkins, “You’re Gonna Miss This”
  • Jamey Johnson, “In Color”
  • Miranda Lambert, “Gunpowder & Lead”
  • Heidi Newfield, “Johnny and June”
  • Brad Paisley, “Waitin’ On a Woman”

Adkins has been a fairly regular fixture on country radio since 1996, but this was his first major industry award.  He also won the ACM for Top New Male Vocalist in 1997.

2008

  • Gary Allan, “Watching Airplanes”
  • Big & Rich, “Lost in This Moment”
  • Kenny Chesney, “Don’t Blink”
  • Miranda Lambert, “Famous in a Small Town”
  • Sugarland, “Stay”

“Stay” swept the Song of the Year categories at all three industry shows, along with winning the ACM for Single Record.  Allan’s presence here shows that being a little West Coast can still help a guy at the ACMs.

2007

  • Heartland, “I Loved Her First”
  • Rascal Flatts, “What Hurts the Most”
  • George Strait, “Give it Away”
  • Josh Turner, “Would You Go With Me”
  • Carrie Underwood, “Before He Cheats”

George Strait earned his second ACM Single Record award a decade after his first (“Check Yes or No”) and two and a half decades after having his first radio hit.  Underwood won at the CMAs later that year.  “Give it Away” is one of a small group of ACM winners to not receive a nomination at the CMA ceremony.

2006

  • Gary Allan, “Best I Ever Had”
  • Brooks & Dunn, “Believe”
  • Brad Paisley, “Alcohol”
  • Sugarland, “Baby Girl”
  • Carrie Underwood, “Jesus, Take the Wheel”

In the battle of biblical hits, the CMA picked Brooks & Dunn but the ACM picked Carrie Underwood.  Much like George Strait would later win a CMA trophy for a different single (“I Saw God Today”), Underwood later triumphed at the CMA with “Before He Cheats.”

2005

  • Tim McGraw, “Live Like You Were Dying”
  • Brad Paisley with Alison Krauss, “Whiskey Lullaby”
  • Rascal Flatts, “Bless the Broken Road”
  • Keith Urban, “Days Go By”
  • Gretchen Wilson, “Redneck Woman”
  • Lee Ann Womack, “I May Hate Myself in the Morning”

Because McGraw picked up the trophy at the CMAs in 2004, the field was cleared for Womack to win the CMA later in 2005.  McGraw had won the ACM before for “It’s Your Love.”

2004

  • Brooks & Dunn, “Red Dirt Road”
  • Alan Jackson with Jimmy Buffett, “It’s Five O’ Clock Somewhere”
  • Alan Jackson, “Remember When”
  • Toby Keith, “American Soldier”
  • Randy Travis, “Three Wooden Crosses”

Among all the lead nominees, only Toby Keith wasn’t a previous winner. Still, the award went to the new alcoholic’s creed, winning over a more pensive Jackson track and a big comeback hit for Randy Travis.

2003

  • Kenny Chesney, “The Good Stuff”
  • Toby Keith, “Courtesy of the Red, White, and Blue (The Angry American)”
  • Trick Pony, “Just What I Do”
  • Keith Urban, “Somebody Like You”
  • Mark Wills, “19 Somethin'”

Chesney spent nearly two months at #1 with this hit, perhaps giving him the edge over the other mega-hits at radio from Keith, Urban, and Wills. As for the Trick Pony nomination, somebody really should find out what Heidi Newfield has on those ACM voters.

2002

  • Brooks & Dunn, “Ain’t Nothin’ ‘Bout You”
  • Diamond Rio, “One More Day”
  • Alan Jackson, “Where Were You (When the World Stopped Turning)”
  • Toby Keith, “I Wanna Talk About Me”
  • Travis Tritt, “It’s a Great Day to Be Alive”

Jackson’s powerful 9/11 reflection stands out as the only ballad among his four ACM Single Record victories.

2001

  • Toby Keith, “How Do You Like Me Now?!”
  • John Michael Montgomery, “The Little Girl”
  • Jamie O’Neal, “There is No Arizona”
  • Aaron Tippin, “Kiss This”
  • Lee Ann Womack with Sons of the Desert, “I Hope You Dance”

Toby Keith’s run of four consecutive nominations began this year. His album of the same name proved victorious that evening.  Womack’s massive hit became an instant standard, and is incidentally the most recent winner to also be a genuine crossover hit.

2000

  • Dixie Chicks, “Ready to Run”
  • Lonestar, “Amazed”
  • Tim McGraw, “Please Remember Me”
  • Brad Paisley, “He Didn’t Have to Be”
  • George Strait, “Write This Down”

As pop hits go, this one was a monster. “Amazed” even topped the Hot 100, the first country single to do so since “Islands in the Stream.”

1999

  • Faith Hill, “This Kiss”
  • Martina McBride, “A Broken Wing”
  • Shania Twain, “You’re Still the One”
  • Steve Wariner, “Holes in the Floor of Heaven”
  • The Wilkinsons, “26 Cents”

Hill and hubby Tim McGraw each have two ACM trophies in this category, one solo and one shared.

1998

  • Diamond Rio, “How Your Love Makes Me Feel”
  • Tim McGraw with Faith Hill, “It’s Your Love”
  • LeAnn Rimes, “How Do I Live”
  • George Strait, “Carrying Your Love With Me”
  • Trisha Yearwood, “How Do I Live (from “Con Air”)”

While Yearwood had won over Rimes at the Grammys a few weeks earlier, the ACM sidestepped the big controversy of the year and gave the trophy to the biggest hit in the bunch.

1997

  • Brooks & Dunn, “My Maria”
  • Deana Carter, “Strawberry Wine”
  • Tracy Lawrence, “Time Marches On”
  • LeAnn Rimes, “Blue”
  • George Strait, “Carried Away”

It’s rare that the ACM goes with the song that was least successful at radio, but don’t let that #10 peak of “Blue” fool you.  That hit was responsible for millions of record sales.

1996

  • Brooks & Dunn, “You’re Gonna Miss Me When I’m Gone”
  • Faith Hill, “It Matters to Me”
  • Tim McGraw, “I Like It, I Love It”
  • George Strait, “Check Yes or No”
  • Shania Twain, “Any Man of Mine”

It was a stroke of marketing brilliance: add two singles to a box set of a genre superstar. When the first single became one of his biggest hits, the box set quickly became the top selling in country music history.

1995

  • Joe Diffie, “Third Rock From the Sun”
  • Vince Gill, “Tryin’ to Get Over You”
  • Alan Jackson, “Livin’ On Love”
  • Tim McGraw, “Don’t Take the Girl”
  • John Michael Montgomery, “I Swear”

There have been a few wedding standards to win this award, though Montgomery’s hit didn’t cross over in its original form.

1994

  • Clint Black with Wynonna, “A Bad Goodbye”
  • Garth Brooks, “Ain’t Goin’ Down (‘Til the Sun Comes Up)”
  • Alan Jackson, “Chattahoochee”
  • Reba McEntire with Linda Davis, “Does He Love You”
  • Dwight Yoakam, “Ain’t That Lonely Yet”

Jackson won the ACM with his massive hit, but the McEntire/Davis duet and the Yoakam track were Grammy winners.

1993

  • John Anderson, “Straight Tequila Night”
  • Brooks & Dunn, “Boot Scootin’ Boogie”
  • Billy Ray Cyrus, “Achy Breaky Heart”
  • Collin Raye, “Love, Me”
  • Tanya Tucker, “Two Sparrows in a Hurricane”

Brooks & Dunn are among the most nominated artists in this category’s history, but this is their only victory.

1992

  • Clint Black, “Where Are You Now”
  • Garth Brooks, “Shameless”
  • Alan Jackson, “Don’t Rock the Jukebox”
  • Travis Tritt, “Here’s a Quarter (Call Someone Who Cares)”
  • Trisha Yearwood, “She’s in Love With the Boy”

This was Jackson’s first major industry award.

1991

  • Alabama, “Jukebox in My Mind”
  • Garth Brooks, “Friends in Low Places”
  • Vince Gill, “When I Call Your Name”
  • Alan Jackson, “Here in the Real World”
  • Shenandoah, “Next to You, Next to Me”

Garth-mania was beginning to peak in 1991. He swept the ACMs that  year.

1990

  • Clint Black, “Better Man”
  • Garth Brooks, “If Tomorrow Never Comes”
  • Patty Loveless, “Timber I’m Falling in Love”
  • Keith Whitley, “I’m No Stranger to the Rain”
  • Hank Williams & Hank Williams Jr., “There’s a Tear in My Beer”

Clint Black is one of only three artists in the last twenty years to win for their first proper single, with Carrie Underwood and LeAnn Rimes being the other two.

1989

  • Kathy Mattea, “Eighteen Wheels and a Dozen Roses”
  • K.T. Oslin, “I’ll Always Come Back”
  • Ricky Van Shelton, “I’ll Leave This World Loving You”
  • Randy Travis, “I Told You So”
  • Keith Whitley, “Don’t Close Your Eyes”

Mattea’s award-winning hit had such a high profile that it was even referenced in the dialog of the hit movie Rain Man.

1988

  • Restless Heart, “I’ll Still Be Loving You”
  • Ricky Van Shelton, “Somebody Lied”
  • George Strait, “All My Ex’s Live in Texas”
  • Randy Travis, “Forever and Ever, Amen”
  • Hank Williams Jr., “Born to Boogie”

Travis won for the second year in a row with what would become his signature hit.

1987

  • Alabama, “Touch Me When We’re Dancing”
  • Janie Fricke, “Always Have, Always Will”
  • The Judds, “Rockin’ With the Rhythm of the Rain”
  • Reba McEntire, “Whoever’s in New England”
  • Randy Travis, “On the Other Hand”

This was technically his first single, but when released under the name Randy Traywick, it bombed. Warner Bros. then released “1982” under Randy Travis, and it went top ten. They then re-released this song, and it became his first #1 hit.

1986

  • Lee Greenwood, “Dixie Road”
  • Waylon Jennings, Willie Nelson, Johnny Cash, Kris Kristofferson, “Highwayman”
  • The Judds, “Love is Alive”
  • Mel McDaniel, “Baby’s Got Her Blue Jeans On”
  • Hank Williams Jr., “I’m For Love”

So successful was this winning single that the four legends would go on to release future collaborations as the Highwaymen.

1985

  • Alabama, “When We Make Love”
  • Julio Iglesias & Willie Nelson, “To All the Girls I’ve Loved Before”
  • The Judds, “Why Not Me”
  • John Schneider, “I’ve Been Around Enough to Know”
  • Conway Twitty, “I Don’t Know a Thing About Love (The Moon Song)”

Say what you want about this winner, but it was popular enough to sell two million 45s.

1984

  • John Anderson, “Swingin'”
  • Anne Murray, “A Little Good News”
  • Willie Nelson & Merle Haggard, “Pancho  and Lefty”
  • Kenny Rogers & Dolly Parton, “Islands in the Stream”
  • Shelly West, “José Cuervo”

Another pop smash that moved two million 45s. Is there anybody over 30 who can’t sing along to the chorus?

1983

  • David Frizzell, “I’m Gonna Hire a Wino to Decorate Our Home”
  • Willie Nelson, “Always on My Mind”
  • Kenny Rogers, “Love Will Turn You Around”
  • Ricky Skaggs, “Crying My Heart Out Over You”
  • Sylvia, “Nobody”

Nelson’s had quite a few signature hits, but none bigger than this one.

1982

  • Rosanne Cash, “Seven Year Ache”
  • David Frizzell & Shelly West, “You’re the Reason God Made Oklahoma”
  • Barbara Mandrell, “I Was Country When Country Wasn’t Cool”
  • Ronnie Milsap, “(There’s) No Gettin’ Over Me”
  • Oak Ridge Boys, “Elvira”

This might be the most pop-flavored lineup in category’s history. Even the Mandrell hit doth protest too much.

1981

  • George Jones, “He Stopped Loving Her Today”
  • Johnny Lee, “Lookin’ For Love”
  • Dolly Parton, “9 to 5″
  • Eddie Rabbitt, “Drivin’ My Life Away”
  • Don Williams, “I Believe in You”

Jones capped his biggest comeback in a career defined by them with several awards for this classic hit.

1980

  • Charlie Daniels Band, “Devil Went Down to Georgia”
  • Larry Gatlin & The Gatlin Brothers Band, “All the Gold in California”
  • Crystal Gayle, “Half the Way”
  • Waylon Jennings, “Amanda”
  • Kenny Rogers, “Coward of the County”

West Coast represent!

1979

  • Crystal Gayle, “Talking in Your Sleep”
  • Loretta Lynn, “Out of My Head and Back in My Bed”
  • Willie Nelson, “Georgia On My Mind”
  • Waylon & Willie, “Mammas Don’t Let Your Babies Grow Up to be Cowboys”
  • Don Williams, “Tulsa Time”

In a category of superstars, the Gentle Giant of Country Music was the victor.

1978

  • Debby Boone, “You Light Up My Life”
  • Crystal Gayle, “Don’t it Make My Brown Eyes Blue”
  • Waylon Jennings, “Luckenbach, Texas (Back to the Basics of Love)”
  • Kenny Rogers, “Lucille”
  • Linda Ronstadt, “Blue Bayou”

All of these records made a big impact on both the country and the pop chart.

1977

  • Mickey Gilley, “Bring it On Home to Me”
  • Loretta Lynn, “Somebody Somewhere (Don’t Know What He’s Missin’ Tonight)”
  • Marty Robbins, “El Paso City”
  • Red Sovine, “Teddy Bear”
  • Waylon & Willie, “Good Hearted Woman”

A surprising win, perhaps fueled by the momentum of Gilley’s previous single, “Don’t the Girls All Get Prettier at Closing Time.”

1976

  • Glen Campbell, “Rhinestone Cowboy”
  • Freddie Fender, “Before the Next Teardrop Falls”
  • Mickey Gilley, “Overnight Sensation”
  • Willie Nelson, “Blue Eyes Crying in the Rain”
  • Kenny Starr, “The Blind Man in the Bleachers”

Campbell made quite the comeback with this one, and it later inspired the Dolly Parton film vehicle Rhinestone, which earned an ACM nomination of its own for the Tex Ritter Award.

1975

  • John Denver, “Back Home Again”
  • Merle Haggard, “Things Aren’t Funny Anymore”
  • Ronnie Milsap, “(I’d Be) A Legend in My Time”
  • Cal Smith, “Country Bumpkin”
  • Billy Swan, “I Can Help”

Smith may not have gotten all the recognition that his talent warranted, but he made two undeniable classics: “The Lord Knows I’m Drinking”, and his winner here.

1974

  • Merle Haggard, “If We Make it Through December”
  • Byron MacGregor, “The Americans”
  • Jeanne Pruett, “Satin Sheets”
  • Charlie Rich, “Behind Closed Doors”
  • Charlie Rich, “The Most Beautiful Girl”

Rich’s two hits were so big that even with vote-splitting, he still emerged the winner.

1973

  • Donna Fargo, “The Happiest Girl in the Whole U.S.A.”
  • Merle Haggard, “It’s Not Love (But It’s Not Bad)”
  • Johnny Rodriguez, “Pass Me By (If You’re Only Passing Through)”
  • Jerry Wallace, “If You Leave Me Tonight I’ll Cry”
  • Faron Young, “Four in the Morning”

Fargo was a local star on the West Coast before she broke through nationwide with this hit, dominating the 1973 ACM Awards as a result.

1972

  • Merle Haggard, “Carolyn”
  • Freddie Hart, “Easy Loving”
  • Loretta Lynn and Conway Twitty, “Lead Me On”
  • Loretta Lynn, “One’s On the Way”
  • Charley Pride, “Kiss an Angel Good Morning”

This gold-selling classic helped Hart triumph over the superstars of his day.

1971

  • Lynn Anderson, “Rose Garden”
  • Merle Haggard, “The Fightin’ Side of Me”
  • Anne Murray, “Snowbird”
  • Ray Price, “For the Good Times”
  • Sammi Smith, “Help Me Make it Through the Night”

Each one of these is a classic in its own right. In a battle of Kristofferson-penned hits, Price emerged victorious, though Smith won the CMA later that year.

1970

  • Glen Campbell, “Try a Little Kindness”
  • Johnny Cash, “A Boy Named Sue”
  • Merle Haggard, “Okie From Muskogee”
  • Billy Mize, “Make it Rain”
  • Elvis Presley, “Don’t Cry Daddy”
  • Freddy Weller, “Games People Play”
  • Tammy Wynette, “Stand By Your Man”

Haggard’s only victory in this category came on a night where he also won Album of the Year for the only time in several nominations.

1969

  • Glen Campbell, “Wichita Lineman”
  • Merle Haggard, “I Take a Lot of Pride in What I Am”
  • Merle Haggard, “The Legend of Bonnie and Clyde”
  • Merle Haggard, “Mama Tried”
  • Roger Miller, “Little Green Apples”

Miller’s known for his legendary songwriting, but his winning hit here was penned by Bobby Russell.

1968

  • Glen Campbell, “Burning Bridges”
  • Glen Campbell, “Gentle on My Mind”
  • The Gosdin Bros., “Hangin’ On”
  • Bobbie Gentry, “Ode to Billy Joe”
  • Merle Haggard, “Branded Man”
  • Merle Haggard, “I’m a Lonesome Fugitive”

A young Vern Gosdin made up half of the nominated Gosdin Bros., a nice historical footnote to the first year of this category. Glen Campbell’s victory was appropriately West Coast for the ACMs first attempt at honoring the national country music scene.

Facts & Feats:

Most Wins

  • (4) – Alan Jackson
  • (3) – Willie Nelson
  • (2) – Glen Campbell, Faith Hill, Tim McGraw, Kenny Rogers, George Strait, Randy Travis

Most Nominations

  • (12) – Merle Haggard
  • (8) – Willie Nelson
  • (6) – Brooks & Dunn, Alan Jackson, George Strait
  • (5) – Glen Campbell, Waylon Jennings, Tim McGraw
  • (4) – Garth Brooks, Toby Keith, Loretta Lynn, Brad Paisley, Kenny Rogers, Randy Travis

Most Nominations Without a Win

  • (4) – Toby Keith, Loretta Lynn, Brad Paisley
  • (3) – Alabama, Crystal Gayle, The Judds, Miranda Lambert, Hank Williams Jr.

Singles that Won Both the ACM and CMA Award:

  • Merle Haggard, “Okie From Muskogee”
  • Donna Fargo, “The Happiest Girl in the Whole U.S.A.”
  • Charlie Rich, “Behind Closed Doors”
  • Cal Smith, ‘Country Bumpkin”
  • Kenny Rogers, “Lucille”
  • George Jones, “He Stopped Loving Her Today”
  • Oak Ridge Boys, “Elvira”
  • Willie Nelson, “Always On My Mind”
  • Randy Travis, “Forever and Ever, Amen”
  • Kathy Mattea, “Eighteen Wheels and a Dozen Roses”
  • Garth Brooks, “Friends in Low Places”
  • Alan Jackson, “Chattahoochee”
  • John Michael Montgomery, “I Swear”
  • George Strait, “Check Yes or No”
  • Lee Ann Womack with Sons of the Desert, “I Hope You Dance”
  • Alan Jackson, “Where Were You (When the World Stopped Turning)”
  • Tim McGraw, “Live Like You Were Dying”

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