Tag Archives: Vince Gill

by Kevin John Coyne | December 30, 2013 · 8:45 pm

Country Universe’s Best Albums of 2013, Part One: #40-#21

For the second year, Country Universe is publishing a 40-deep list of the year’s best albums. Part One includes releases from talented newcomers, genre legends, and quite a few entries from the outskirts of country music. As usual, that’s where most of the cool stuff can be found.

Country Universe will close out our year with the conclusion of this list tomorrow. As always, share your thoughts and opinions in the comments!

#40
Ventucky
Dan Grimm

Individual rankings: #12 – Jonathan

The EP format doesn’t leave much margin for error, but with a knack for unconventional imagery and a style that blends vintage SoCal rock with authentic honky-tonk, Dan Grimm ensures that every track on his freewheeling, endlessly likable Ventucky is a standout. - Jonathan Keefe

Recommended Tracks: “Skeletor,” “300 Beers”

#39
Magpie and the Dandelion
The Avett Brothers

Individual rankings: #12 – Sam

Since moving up to a major label, the Avetts’ album releases have strayed further and further away from their ragged-but-right indie albums. There aren’t as many reckless moments, though “Another Is Waiting” and “Open Ended Life” come close. The trade is that their slower, introspective songs are increasingly sophisticated. “Good to You” is beautifully written, and Bob Crawford’s rare vocals are a dagger to the heart for any dads who spend too much time traveling. - Sam Gazdziak

Recommended Tracks: “Good to You”, “Another is Waiting”, “Morning Song”

#38
Love’s Truck Stop
Matraca Berg

Individual rankings: #11 – Kevin

Originally released in Europe last year, Matraca Berg’s latest collection builds on the strength of 2011’s Dreaming Fields. She embodies the characters of her song so fully that she allows you to walk as easily in the shoes of a truck stop waitress as those of a grieving, abused daughter clutching flowers at her father’s graveside. Her vulnerable vocals shine best on “My Heart Will Never Break This Way Again”, which was sung by Patty Loveless many years ago. - Kevin Coyne

Recommended Tracks: “Her Name is Mary”, “Fistful of Roses”, “My Heart Will Never Break This Way Again”

#37
Feels Like Home
Sheryl Crow

Individual rankings: #11 – Leeann

It was inevitable that Sheryl Crow would eventually make a country album, since she’s dabbled in it over the years on various tribute projects and has collaborated with country stalwarts like Willie Nelson and Vince Gill, not to mention that even her pop albums have had elements of country in them. So, Feels Like Home seems appropriate for the title of her first official country record.
While certainly not a traditional country record, as I had personally hoped it would be, Crow is instead authentic to her way of doing things, while also being able to draw from the good parts of the modern sounds and styles of country music. - Leeann Ward

Recommended Tracks: “We Oughta Be Drinkin'”, “Stay at Home Mother”

#36
They Called it Music
The Gibson Brothers

Individual rankings: #11 – Ben

On the title track of They Called it Music, IBMA Entertainers of the Year Leigh and Eric Gibson pine for the days when music was honest, simple, and “helped the hard times heal” – when it was a medium of art and self-expression rather than a mere moneymaker. Whether lighthearted (“Buy a Ring, Find a Preacher”), melancholy (“Dying for Someone to Live For”) or introspective (“Something Coming to Me”), the entire album is a beautiful realization of that very standard. - Ben Foster

Recommended Tracks: “Buy a Ring, Find a Preacher,” “They Called It Music,” “Something Coming to Me”

#35
Studebaker
Mando Saenz

Individual rankings: Sam – #11

The third album from Texas-raised, Nashville resident Saenz is the most eclectic and best of his career. While the focus is still on his sharp songwriting skills, the mood varies from introspective to rocking to, on “Tall Grass,” downright playful. Saenz collaborated with an A-list batch of co-writers, including Kim Richey for “Break Away Speed” and Wade Bowen for “Bottle into Gold,” and the mix of songs with Saenz’s pleasant vocals and a hot band is a winning combination. - Sam Gazdziak

Recommended Tracks: “Break Away Speed”, “Bottle into Gold”, “Pocket Change”

#34
Build Me Up from Bones
Sarah Jarosz

Individual rankings: #17 – Jonathan; #19 – Ben

On her third album, Build Me Up from Bones, Sarah Jarosz found her voice as both a singer and a songwriter. Her sense of phrasing draws from both her expansive knowledge of contemporary folk and her conservatory training in improvisation, and sharply observed original songs like “Gone Too Soon” and “1000 Things” more than hold their own alongside Joanna Newsom and Bob Dylan covers. - Jonathan Keefe

Recommended Tracks: “Over the Edge,” “Build Me Up from Bones,” “1000 Things”

#33
Opening Day
Peter Cooper

Individual rankings: #16 – Leeann; #18 – Sam

eter Cooper’s second album was entitled after the great pedal steel guitar player, Lloyd Green. While Opening Day is not named after him, Green is still the other star player on Cooper’s third stellar solo album. Along with Green’s prominent steel and cooper’s own emotionally conversational voice, Cooper once again proves that he is as an adept songwriter as he is a journalist. Themes of living life well, baseball (Of course!), and even drone strikes. Each of these songs with its various themes are all presented with either insight or witty humor and sometimes both. - Leeann Ward

Recommended Tracks: “Much Better Now”, “Quiet Little War”

#32
Holly Grove
The Whiskey Gentry

Individual rankings: #8 – Sam

It’s hard to say if The Whiskey Gentry will be the next big thing to come out of Georgia, but they have the talent to spare. The band mixes in bluegrass, country, a bit of Celtic and a dash of punk rock, resulting in a high-energy, hard-to-classify sound. “I Ain’t Nothing” and “Dixie” wouldn’t sound out of place in a honky tonk, while “Colly Davis” is a bluegrass-on-amphetamines winner. The title track is a four-and-a-half minute epic that was one of the most moving songs of the year. - Sam Gazdziak

Recommended Tracks: “Holly Grove”, “Particles”, “I Ain’t Nothing”

#31
When We Fall
Rebecca Frazier
Individual rankings: Ben – #7

Rebecca Frazier is a genuine triple threat – a great picker, a great singer, and a great songwriter. She shows that she can throw it down with the best of them on “Ain’t Gonna Work Tomorrow” as well as a trio of stellar instrumental tracks, while her delivery of ballads such as the deeply personal “Babe in Arms” resounds with humanity and vulnerability, the result being one of the year’s finest bluegrass albums. - Ben Foster

Recommended Tracks: “When We Fall,” “Ain’t Gonna Work Tomorrow,” “Babe in Arms”

#30
Not Cool
Tim Easton

Individual rankings: #7 – Jonathan

Even if its self-deprecating title isn’t at all accurate, singer-songwriter Tim Easton’s Not Cool proves that, despite the glut of counter-evidence 2013 presented, it’s still possible to incorporate a heavy rock influence into folk and country styles without sacrificing wit, craft, or genre know-how. Spirited, ramshackle cuts like “Lickety Split” and “Crazy Motherfucker from Shelby, OH” make the underrated Easton’s seventh outing one of the year’s most raucous and, yes, coolest albums. - Jonathan Keefe

Recommended Tracks: “Troubled Times,” “Lickety Split,” “They Will Bury You”

#29
Wheelhouse
Brad Paisley

Individual rankings: Sam – #7

Did you know that Brad Paisley released one of the best albums of his career this year? The humorous songs, like “Harvey Bodine” and “Death of a Single Man,” stayed humorous after multiple listenings, and unlike most other country singers, Paisley blended in pop elements, like sampling Roger Miller in “Outstanding in Our Field,” and did it without turning them into pop or rock songs with token country elements. “Southern Comfort Zone” and “Those Crazy Christians” showed more depth than their titles would suggest. And all anyone wanted to talk about was that damn “Accidental Racist” song. - Sam Gazdziak

Recommended Tracks: “Southern Comfort Zone”, “Beat This Summer”, “Death of a Single Man”

#28
In the Throes
John Moreland

Individual rankings: #6 – Jonathan

A difficult meditation on what happens when one has experienced losses of love and faith, John Moreland’s In the Throes is a testament to the redemptive power of music. He may sing, “Nobody Gives a Damn About Songs Anymore,” on the album’s most keenly observed song, but Moreland’s spectacular songwriting is something everyone should hear. - Jonathan Keefe

Recommended Tracks: “Nobody Gives a Damn About Songs Anymore,” “Break My Heart Sweetly,” “Blues & Kudzu”

#27
Dos Divas
Lorrie Morgan & Pam Tillis

Individual rankings: #13 – Kevin; #16 – Ben

A lively and entertaining collaboration between two nineties, second-generation country stars. The album features six full collaborations, along with four solo tracks from each artist. The pairings are funny and loose, recalling the best of those old-school duet albums from the sixties and seventies. But the biggest surprise is in the solo turns by Lorrie Morgan, who turns in some of her strongest moments ever put down to tape. - Kevin Coyne

Recommended Tracks: “Last Night’s Makeup”, “Next Time it Rains”, “I Know What You Did Last Night”

#26
Good Wine and Bad Decisions
Julie Roberts

Individual rankings: #13 – Ben; #16 – Tara

Roberts’ comeback album is best approached with an aching heart and a glass of something smooth – all the better to absorb its combo of earthy blues and provoking, damn-that’s-depressing stories. But don’t mistake Good Wine and Bad Decisions for a downer; Roberts lures you into her dark places with such emotional gusto and groovy, engaging vibes that you somehow end up celebrating in misery. - Tara Seetharam

Recommended Tracks: “Arms of Jesus,” “He Made a Woman Out of Me,” “Bones,” “Old Strings”

#25
Finally Home
Blue Sky Riders

Individual rankings: #4 – Dan

With their considerable powers combined, Georgia Middleman, Gary Burr, and Kenny Loggins (Kenny Loggins!) produce the year’s most relentlessly positive LP. No time for cynics here; this is distilled country-poptimism, a set of songs that could easily soundtrack a self-help seminar (“Just Say Yes”! “How About Now”!) and like it that way, thanks. And are you gonna complain? The songs are so catchy, you will help yourself. - Dan Milliken

Recommended Tracks: “Little Victories”, “Just Say Yes”, “How About Now”

#24
To All the Girls…
Willie Nelson

Individual rankings: #12 – Tara; #15 – Leeann

Only Nelson could create an album akin to a mug of hot chocolate on a lazy Sunday afternoon that still feels elegant and impeccably thought-out. There’s no doubt he was tickled to record with all 18 female acts, from current stars to genre darlings to his own family, and it shows. He plays to each of her strengths with grace – stepping back in “Grandma’s Hands” to let Mavis Staples take it to church, standing quietly still in “Always On My Mind” so Carrie Underwood can inhabit the classic, waltzing right alongside Norah Jones in “Walkin.” It’s all comfort food, to be sure, but comfort food of the classiest, most tasteful order. - Tara Seetharam

Recommended Tracks: “Far Away Places,” “Please Don’t Tell Me How the Story Ends,” “Grandma’s Hands,” “Have You Ever Seen the Rain?”

#23
Thorn in My Heart
Kim Richey

Individual rankings: #15 – Kevin; #18 – Ben; #19 – Tara

Built around full-bodied melodies, subtle yet evocative arrangements, and authoritative vocal performances, Thorn in My Heart is another excellent collection of mature, compelling roots country songs by one of the genre’s most underrated singer-songwriters. - Ben Foster

Recommended Tracks: “Thorn in My Heart,” “London Town,” “Breakaway Speed”

#22
Massachusetts
Lori McKenna
Individual rankings: #3 – Kevin

Whereas the previous, excellent Lorraine dealt heavily in the themes of loss and grief, the finest moments on McKenna’s latest collection surround matters of the heart. McKenna captures the quiet desperation just under the surface of life’s mundanity better than any writer today. - Kevin Coyne

Recommended Tracks: “Shake”, “Salt”, “Smaller and Smaller”

#21
The Stand-In
Caitlin Rose

Individual rankings: #10 – Dan; #11 – Jonathan

Liz Rose’s daughter once again proves her family can school yours all day long, with a sophomore set of songs every bit as sharp as her debut. Her soft, demure singing style belies her ability to slip powerful blows—whether aimed at others or herself—into a song. Call her Nashville’s ninja. - Dan Milliken

Recommended Tracks: “I Was Cruel”, “Silver Sings”, “Menagerie”

Country Universe’s Best of 2013:

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Tagged as Blue Sky Riders, Bob Dylan, Brad Paisley, Caitlin Rose, Carrie Underwood, Dan Grimm, Gary Burry, Georgia Middleman, Joanna Newsom, John Moreland, Julie Roberts, Kenny Loggins, Kim Richey, Liz Rose, Lloyd Green, Lori McKenna, Lorrie Morgan, Mando Saenz, Matraca Berg, Mavis Staples, Norah Jones, Pam Tillis, Patty Loveless, Peter Cooper, Rebecca Frazier, Roger Miller, Sarah Jarosz, Sheryl Crow, The Avett Brothers, The Gibson Brothers, The Wkiskey Gentry, Tim Easton, Vince Gill, Wade Bowen, Willie Nelson

by Kevin John Coyne | December 7, 2013 · 12:01 am

2014 Grammy Nominees

The nominations for the 56th Annual Grammy Awards have been announced. Taylor Swift has the top nomination connected to country music, earning her second nomination for Album of the Year. She took home the award four years ago for Fearless.

Here are the general category nominees, along with all country and country-related categories:

Album of the Year

Sara Bareilles, The Blessed Unrest
Daft Punk, Random Access Memories
Kendrick Lamar, good kid m.A.A.d. city
Macklemore & Ryan Lewis, The Heist
Taylor Swift, Red

If Taylor Swift wins, she will be the first country-related artist in history to win the category twice with individual projects. Alison Krauss also has two victories, one for her collaboration with Robert Plant (Raising Sand, 2009), and another for her contributions to the O Brother Where Art Thou soundtrack (2002.) The award has only been won by country artists in two other years: Glen Campbell for By the Time I Get to Phoenix (1968), and the Dixie Chicks for Taking the Long Way (2007).

Record of the Year

“Blurred Lines” – Robin Thicke featuring T.I. and Pharrell Williams
“Get Lucky” – Daft Punk featuring Pharrell Williams
“Locked Out of Heaven” – Bruno Mars
“Radioactive” – Imagine Dragons
“Royals” – Lorde

For the third time in the last eight years, no country or country-related records make the cut. Only four country-related winners have triumphed in this category, but three of them have been in the last few years. Olivia Newton-John won for “I Honestly Love You” in 1975, followed much later by the Dixie Chicks for “Not Ready to Make Nice” in 2006; Robert Plant & Alison Krauss for “Please Read the Letter” in 2009; and Lady Antebellum for “Need You Now” in 2011.

Song of the Year

“Just Give Me a Reason” – Jeff Bhasker, P!nk, and Nate Reuss
“Locked out of Heaven” – Phillip Lawrence, Ari Levine, and Bruno Mars
“Roar” – Lukasz Gottwald, Max Martin, Bonnie McKee, Katy Perry, and Henry Walter
“Royals” – Joel Little and Lorde
“Same Love” – Ben Haggerty, Mary Lambert, Ryan Lewis, and Curtis Mayfield

For the third straight year, country is shut out of the top songwriting category, a streak that began after the writers of Lady Antebellum’s “Need You Now” won in 2011.

Best New Artist

James Blake
Kendrick Lamar
Macklemore & Ryan Lewis
Kacey Musgraves
Ed Sheeran

Kacey Musgraves is the latest new artist to represent country music in this category, which has become a nearly annual occurrence since LeAnn Rimes was nominated and won back in 1997. Previous country winners also include Bobbie Gentry (1968), Carrie Underwood (2007) and Zac Brown Band (2010).

Best Country Album

Jason Aldean, Night Train
Tim McGraw, Two Lanes of Freedom
Kacey Musgraves, Same Trailer Different Park
Blake Shelton, Based on a True Story
Taylor Swift, Red

Despite the presence of four big, established stars, only Taylor Swift has actually earned a victory in this category. She won in 2010 for Fearless. She contended again in 2012 with Speak Now, which lost to repeating victors Lady Antebellum, who won two years in a row for Need You Now (2011) and Own the Night (2012). Kacey Musgraves earns a nomination for her debut album, the first artist do so since 2005, when Gretchen Wilson contended with Here For the Party.

Best Country Solo Performance

Lee Brice, “I Drive Your Truck”
Hunter Hayes, “I Want Crazy”
Miranda Lambert, “Mama’s Broken Heart”
Darius Rucker, “Wagon Wheel”
Blake Shelton, “Mine Would Be You”

Since this category combined the solo categories into one, this award has been one by Taylor Swift (“Mean”) and Carrie Underwood (“Blown Away.”) Lambert is the only previous winner in a predecessor of this category.

Best Country Duo/Group Performance

The Civil Wars, “From This Valley”
Kelly Clarkson featuring Vince Gill, “Don’t Rush”
Little Big Town, “Your Side of the Bed”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Kenny Rogers and Dolly Parton, “You Can’t Make Old Friends”

There’s really only one hit here, but there are plenty of former Grammy winners scattered among this category. In case you’re wondering, the answer is no, they didn’t win a Grammy for “Islands in the Stream.”

Best Country Song

“Begin Again” – Taylor Swift
“I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
“Mama’s Broken Heart” – Brandy Clark, Shane McAnally, and Kacey Musgraves
“Merry Go ‘Round” – Shane McAnally, Kacey Musgraves, and Josh Osborne
“Mine Would Be You” – Jessi Alexander, Connie Harrington and Deric Ruttan

It’s not too common for people to receive double nominations, but here there are four songwriters competing against themselves: Jessi Alexander, Connie Harrington, Shane McAnally, and Kacey Musgraves.

Best American Roots Song

“Build Me Up From Bones” – Sarah Jarosz
“Invisible” – Steve Earle
“Keep Your Dirty Lights On” – Tim O’Brien and Darrell Scott
“Love Has Come From You” – Edie Brickell and Steve Martin
“Shrimp Po-Boy, Dressed” – Allen Touissant

This category is brand new this year, encompassing songs from all of the subcategories in the American Roots field: Americana, bluegrass, blues, folk, and regional roots music.

Best Americana Album

Emmylou Harris and Rodney Crowell, Old Yellow Moon
Steve Martin and Edie Brickell, Love Has Come For You
Buddy Miller and Jim Lauderdale, Buddy and Jim
Mavis Staples, One True Vine
Allen Touissant, Songbook

Collaborations dominate this category, which is populated with many previous Grammy winners. Emmylou Harris won this award twice, back when it was called Best Contemporary Folk Album.

Best Bluegrass Album

The Boxcars, It’s Just a Road
Dailey & Vincent, Brothers of the Highway
Della Mae, This World Oft Can Be
James King, Three Chords and the Truth
Del McCoury Band, The Streets of Baltimore

Del McCoury Band are the only returning victors in this category, winning back in 2006 for The Company We Keep. Perhaps because of the broad voter base, this category has been dominated by acts with explicit ties to country music, including multiple wins by Ricky Skaggs, Jim Lauderdale, and Alison Krauss & Union Station, and one-off victories by Patty Loveless and Dolly Parton. This year is the second in a row without crossover contenders; last year’s winner was the Steep Canyon Rangers for Nobody Knows You.

Best Folk Album

Guy Clark, My Favorite Picture of You
The Greencards, Sweetheart of the Sun
Sarah Jarosz, Build Me Up From Bones
The Milk Carton Kids, The Ash & Clay
Various Artists, They all Played for Us: Arhoolie Records 50th Anniversary Celebration

A tribute to Guy Clark earned a nomination in this category last year, and now Clark himself is in contention for the prize. None of the acts in contention have won in the folk fields before.

Also of note, the Pistol Annies set Annie Up earned nominations for engineer Chuck Ainlay and mastering engineer Bob Ludwig in the Best Engineered Album, Non-Classical category. It competes against Daft Punk, another album mastered by Ludwig, along with sets by Alice in Chains, Queens of the Stone Age, Andrew Duhon, and Madeline Payroux.

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Tagged as Alison Krauss, Blake Shelton, Bobbie Gentry, Brandy Clark, Buddy Miller, Carrie Underwood, Connie Harrington, Dailey & Vincent, Darius Rucker, Darrell Scott, Del McCoury Band, Della Mae, Dixie Chicks, Dolly Parton, Edie Brickell, Emmylou Harris, Glen Campbell, Gretchen Wilson, Guy Clark, Hunter Hayes, James King, Jason Aldean, Jessi Alexander, Jim Lauderdale, Kacey Musgraves, Keith Urban, Kelly Clarkson, Kenny Rogers, Lady Antebellum, Lee Brice, Little Big Town, Miranda Lambert, Robert Plant, Rodney Crowell, Sarah Jarosz, Shane McAnally, Steve Earle, Steve Martin, Taylor Swift, The Boxcars, The Civil Wars, The Greencards, The Milk Carton Kids, Tim McGraw, Tim O'Brien, Vince Gill, Zac Brown Band

by Kevin John Coyne | November 3, 2013 · 4:54 pm

CMA Awards: Entertainer of the Year (1967-2013)

Since its inception, the top honor an artist could be given at the Country Music Association awards is this one: Entertainer of the Year. Originally a revolving door of winners, the winner in early years was often not even nominated the following year. In 1981, Barbara Mandrell became the first artist to win the award twice. Alabama succeeded her with a three year run from 1982-1984. Fourteen years later, Garth Brooks became the first artist two win four times, a feat later matched by Kenny Chesney in 2008.

Here’s a look back at the award from the very beginning, along with some facts and feats about the category and its nominees.

1967

Bill Anderson
Eddy Arnold
Merle Haggard
Sonny James
Buck Owens

One year after being inducted into the Country Music Hall of Fame, Eddy Arnold was named the very first Entertainer of the Year at the inaugural CMA awards in 1967. Don’t assume it was a sympathy vote. Arnold had three #1 hits in the twelve months leading up to the ceremony, as he was in the middle of his impressive mid-sixties comeback, a period best defined by the 1965 classic, “Make the World Go Away.” He remains the only member of the Hall of Fame to win this award after being inducted.

1968

Eddy Arnold
Glen Campbell
Johnny Cash
Merle Haggard
Charley Pride

Glen Campbell was a big awards favorite in 1968, with “By the Time I Get to Phoenix” and “Gentle On My Mind” both dominating the Grammy awards earlier that year. His win in this category foreshadowed bigger things, as he soon became a network variety star, while also scoring major country and pop hits with “Wichita Lineman” and “Galveston.”

1969

Glen Campbell
Johnny Cash
Roy Clark
Merle Haggard
Charley Pride

Johnny Cash’s career was rejuvenated on the strength of two live prison albums, the latter of which produced the massive Shel Silverstein-penned smash, “A Boy Named Sue.” His victory came in a year that marked the beginning of his network variety show and had him dominating the country singles charts, spending ten combined weeks at #1 with “Sue” and “Daddy Sang Bass.”

1970

Glen Campbell
Johnny Cash
Roy Clark
Merle Haggard
Charley Pride

Merle Haggard was a mainstay in this category from the beginning, nominated in each of the first seven years of the CMA Awards. His victory in 1970 coincided with his commercial peak, with signature hits “The Fightin’ Side of Me” and “Okie From Muskogee” helping him secure his only win in this category.

1971

Merle Haggard
Loretta Lynn
Charley Pride
Jerry Reed
Conway Twitty

The last of four consecutive years where the Male Vocalist winner matched the Entertainer winner, Charley Pride went home with both awards in 1971. A winner on his fourth nomination, his popularity skyrocketed upon the release of “Kiss an Angel Good Morning,” which was climbing the charts at the time of the awards ceremony.

1972

Merle Haggard
Freddie Hart
Loretta Lynn
Charley Pride
Jerry Reed

Instead of attending the awards show, Loretta Lynn’s husband Mooney went hunting. He didn’t want to watch her lose, but he missed watching history unfold as she became the first woman to win Entertainer of the Year. Lynn’s victory came on the heels of both solo hits like “One’s on the Way” and her popular duets with Conway Twitty.

1973

Roy Clark
Merle Haggard
Tom T. Hall
Loretta Lynn
Charley Pride

Today he’s best known for Hee Haw, the country music variety show that he co-hosted, and it’s no coincidence that he won while the show was in its prime. Still, Clark is also one of country’s most admired legends, and his legacy goes far beyond the television show that showcased his extensive musical and comedic talents.

1974

Roy Clark
Mac Davis
Loretta Lynn
Olivia Newton-John
Charlie Rich

The massive success of “The Most Beautiful Girl” and “Behind Closed Doors” helped Charlie Rich win this award. It was a long time coming, as Rich toiled in obscurity despite critical acclaim for his work. He would continue to score big hits on the country and pop charts over the next couple of years, at one point charting hits on different labels at the same time.

1975

John Denver
Waylon Jennings
Loretta Lynn
Ronnie Milsap
Conway Twitty

John Denver’s victory in this race led to the most infamous moment in CMA history. Though he claimed it was due to medication later on, presenter Charlie Rich seemed to be making a furious statement against the pop crossover artists dominating country music when he opened the envelope, read it, and then lit a cigarette lighter and burned the envelope. The paper went up in flames as he derisively snarled the winner’s name, “My friend, Mister John Denver.” Poor John, accepting via satellite, was clueless to what was going on at the Opry house, and graciously accepted his award.

1976

Waylon Jennings
Ronnie Milsap
Willie Nelson
Dolly Parton
Mel Tillis

This 2007 Hall of Fame inductee won this award just as he was changing labels. Tillis first gained notoriety for his remarkable songwriting talent, but eventually he was scoring enough hits to earn a place in this category. He would go on to have several more big hits after winning this award, earning another nomination in this category two years later.

1977

Merle Haggard
Waylon Jennings
Ronnie Milsap
Dolly Parton
Kenny Rogers

Ronnie Milsap dominated the CMA Awards, becoming one of its most frequently honored performers during the formative years of the awards show. He finally won the big prize on his third try, powered by the success of his classic hit, “It was Almost like a Song.”

1978

Crystal Gayle
Ronnie Milsap
Dolly Parton
Kenny Rogers
Mel Tillis

Her famous quote – “I’m not leaving country. I’m taking it with me” – must have held some water with the Nashville establishment, as Parton won this award at the height of her pop crossover success with “Here You Come Again,” the title track of her first platinum album. The front of her dress popped open before she went up to receive the trophy, prompting her to quip, “That’s what I get for trying to put fifty pounds of mud in a five pound bag.”

1979

Crystal Gayle
Barbara Mandrell
Willie Nelson
Kenny Rogers
Statler Brothers

He never won Male Vocalist of the Year, but superstar Willie Nelson was given his due by the CMA in 1979 when they awarded him Entertainer of the Year. While it wasn’t his biggest year on the charts, residual goodwill from Stardust and his collaborations with Waylon Jennings helped carry him to victory.

1980

Charlie Daniels Band
Larry Gatlin & The Gatlin Brothers
Barbara Mandrell
Willie Nelson
Kenny Rogers

She had a few big hits in 1980, like “Crackers” and “The Best of Strangers.” But it was her incredibly popular variety show with sisters Louise and Irlene that truly showcased her versatility as an entertainer, securing the first of two wins in this category.

1981

Alabama
George Jones
Barbara Mandrell
Oak Ridge Boys
Kenny Rogers

Despite sharing the category with four artists who had never won this award, Barbara Mandrell became the first artist in CMA history to win Entertainer of the Year for the second time. Credit the continued popularity of her television show and the biggest hit of her career, “I Was Country When Country Wasn’t Cool”, which featured a guest turn by fellow nominee George Jones.

1982

Alabama
Barbara Mandrell
Willie Nelson
Oak Ridge Boys
Ricky Skaggs

The band that laid the groundwork for all other country bands that followed, Alabama set a new bar for commercial success in the early eighties. The eligibility period included the release of their biggest-selling studio album, and also two of their signature hits: “Mountain Music” and “Love in the First Degree.”

1983

Alabama
Merle Haggard
Barbara Mandrell
Willie Nelson
Ricky Skaggs

As their studio albums sold in the millions, every single Alabama released to radio was hitting #1, a stretch that would eventually include 21 consecutive chart-toppers. They repeated in this category on the strength of hits like “Dixieland Delight” and “The Closer You Get.”

1984

Alabama
Lee Greenwood
Barbara Mandrell
Ronnie Milsap
Oak Ridge Boys

A mere three years after Barbara Mandrell made history by being the first artist to win two Entertainer awards, Alabama went her one better and won three. They remain one of only two acts to win this award three years in a row, doing so as their hits “Roll On (Eighteen Wheeler)” and “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” dominated the airwaves.

1985

Alabama
Lee Greenwood
Reba McEntire
Ricky Skaggs
George Strait

Few country artists command as much respect as Ricky Skaggs, a consummate singer and musician. Skaggs’ victory in this category signaled the resurgence of traditional country music, as he was the first winner since 1976 to not have achieved crossover hits on pop radio.

1986

The Judds
Reba McEntire
Willie Nelson
Ricky Skaggs
George Strait

One of the most popular new traditionalists of the mid-eighties, McEntire achieved her commercial breakthrough with “Whoever’s in New England”, which was aided in popularity by her first of many high-concept music video clips. McEntire would eventually become the most nominated woman in history, scoring ten nominations over eleven years.

1987

The Judds
Reba McEntire
George Strait
Randy Travis
Hank Williams, Jr.

When Hank Williams, Jr. won the Music Video award the previous year, he reminded voters, “I make audio, too.” They finally got around to acknowledging his meaningful contributions to the genre, awarding him the first of two Entertainer trophies in 1987.

1988

The Judds
Reba McEntire
George Strait
Randy Travis
Hank Williams, Jr.

Hank Jr. may have waited a long time for some CMA love, but once it came, it was in droves. He won Album of the Year the same night he repeated in this category. His biggest hit of the year, “Young Country”, featured guest appearances by up and comers like Highway 101 and Marty Stuart.

1989

Reba McEntire
Ricky Van Shelton
George Strait
Randy Travis
Hank Williams, Jr.

Three years after his most recent Male Vocalist trophy, megastar George Strait was named Entertainer of the Year. He would go on to have one of his biggest years at radio, with two multi-week #1 singles in the twelve months that followed his victory.

1990

Clint Black
Kathy Mattea
Ricky Van Shelton
George Strait
Randy Travis

While Randy Travis dominated the Male Vocalist race, George Strait was given his due again in the Entertainer category. He wore an Entertainer of the Year cowboy belt on the cover of Livin’ it Up, perhaps giving him good luck toward his second victory. He remains the most nominated in this category, and is only the second Hall of Famer to receive a nomination after being inducted into the Hall.

1991

Clint Black
Garth Brooks
Vince Gill
Reba McEntire
George Strait

A mere year after winning the Horizon award, Garth Brooks was the Entertainer of the Year at the CMA Awards. He was breaking every sales record in the book by that point. Shortly before the ceremony, he became the first country artist to enter the overall album chart at #1, leading to a media frenzy that gained unprecedented exposure for both Garth and the genre he represented.

1992

Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire
Travis Tritt

Given that he was already the biggest-selling country artist the world had ever seen, it was no surprise that Garth Brooks won his second Entertainer of the Year trophy in 1992. His continued popularity was fueled by sold out live shows that soon led to network specials showcasing his unique brand of arena country.

1993

Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire

Vince Gill capped off an amazing night at the 1993 CMA Awards with his first victory in this category. It was his fifth win of the night, as he also took home Male Vocalist, Song, Album and Vocal Event. As he was also the show’s sole host, the collective exposure pushed him to multi-platinum sales.

1994

Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire

The soft-spoken Gill won for a second year, which was no big surprise given his widespread popularity in Music City. He also went home with Album and Male Vocalist the same night, giving him a stunning fourteen trophies in only five years.

1995

Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
Reba McEntire

As one of the evening’s top nominees, Alan Jackson brought his parents as his special guests. After losing in every other category, he expressed relief that he finally won something, as going home empty handed would’ve been embarrassing. Jackson would eventually become one of the organization’s most awarded artists.

1996

Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
George Strait

They were already winners of five CMA awards, due solely to their domination of the Vocal Duo category. But in 1996, they finally won another race, and it was a big one. Brooks & Dunn remain the only duo to win this award, with The Judds and Sugarland being the only other duos to receive nominations.

1997

Brooks & Dunn
Garth Brooks
Vince Gill
Alan Jackson
George Strait

In a year when all five nominees had won this award before, it was Garth Brooks who returned to the winner’s circle, tying Alabama’s long-standing record of three victories in this category. Adding to the sense of déjà vu, this was the third year in a row where all five nominees were the same.

1998

Brooks & Dunn
Garth Brooks
Vince Gill
Tim McGraw
George Strait

As hard as it is to believe that there were any records left for him to break by 1998, Garth Brooks shattered another one, becoming the first artist in the history of the CMA to win four Entertainer of the Year awards. By this time, Garth had already sold more than 60 million albums, and while he has yet to win this award again, he remains the top-selling solo artist of all time in the United States.

1999

Garth Brooks
Dixie Chicks
Tim McGraw
George Strait
Shania Twain

The odds seemed against Shania Twain, as she had never won a CMA award before and the last woman to win was Reba McEntire thirteen years earlier. Fittingly, McEntire was on hand to present the trophy to Twain, who won on the strength of Come On Over, which eventually became top-selling country album of all time and the top selling album of the decade from any genre.

2000

Dixie Chicks
Faith Hill
Alan Jackson
Tim McGraw
George Strait

The Dixie Chicks capped off a stunning three-year run at the CMA Awards with this victory, one of nine that they racked up since 1998. Within those three years, their first two albums each sold over ten million copies, and the band was widely credited for championing country radio and traditionalism while other top acts were crossing over to pop radio.

2001

Brooks & Dunn
Dixie Chicks
Alan Jackson
Tim McGraw
George Strait

After winning two Male Vocalist and two Album of the Year honors in the previous three years, Tim McGraw finally won the CMA’s top award. It was a satisfying acknowledgment of an artist who’d had his talent underestimated in the first few years of his stardom, but built up a reputation for his stellar taste in choosing material.

2002

Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
George Strait

Jackson’s win in 1995 came as he was reaching his commercial peak. In the years that followed, Jackson remained a successful and well-respected artist that got less attention every year when it came time to hand out awards. Then came the one-two punch of “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”, both of which were viewed as the very embodiment of all that makes country music unique and essential. This was one of five awards he was honored with that night.

2003

Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
Tim McGraw

Although the ACM had chosen Toby Keith as their standard bearer a few months earlier, the CMA stuck with the previous year’s winner Alan Jackson. By 2003, Jackson had evolved into an elder statesman for the genre, but still managed to stay relevant with hits both clever (“It’s Five O’Clock Somewhere”) and poignant (“Remember When.”)

2004

Brooks & Dunn
Kenny Chesney
Alan Jackson
Toby Keith
Tim McGraw

Chesney’s long dry spell at the CMA’s came to a satisfying end as the superstar collected both Entertainer and Album of the Year trophies. He had been charting for eleven years before finally winning his first CMA award.

2005

Kenny Chesney
Alan Jackson
Toby Keith
Brad Paisley
Keith Urban

One of the most surprising and endearing wins in the history of this category, a shocked and humbled Urban accepted this award in New York City. He couldn’t have picked a better night to bring his Australian parents to the ceremony.

2006

Brooks & Dunn
Kenny Chesney
Brad Paisley
Rascal Flatts
Keith Urban

It’s pretty rare to come back and win this award for a second time, as most multiple wins have been consecutive in this category. But Kenny Chesney joined Garth Brooks and Alan Jackson as the only other artists to pull it off when he won in 2006, a club that would later be joined by Taylor Swift.

2007

Kenny Chesney
Brad Paisley
Rascal Flatts
George Strait
Keith Urban

Chesney entered the elite company of Garth Brooks, Alabama, and Alan Jackson with his third victory in this category. Rascal Flatts, meanwhile, became the first group since the Dixie Chicks to score back-to-back nominations, a feat also accomplished by Alabama and the Oak Ridge Boys.

2008

Kenny Chesney
Brad Paisley
George Strait
Sugarland
Keith Urban

As Sugarland became only the third duo in history to receive a nomination and George Strait extended his record number of nominations to sixteen, Kenny Chesney tied Garth Brooks for the most wins in this category with his fourth victory. His popularity at radio and retail was remarkable, but it was Chesney’s highly attended summer stadium tours that earned him these wins.

2009

Kenny Chesney
Brad Paisley
George Strait
Taylor Swift
Keith Urban

Taylor Swift both made history and prevented it with her win in this category. She simultaneously became the youngest artist ever and the first female solo artist in ten years to take home the prize. She also kept Kenny Chesney from becoming the sole all-time champion in this category, as he remains tied with Garth Brooks with four wins to date.

2010

Lady Antebellum
Miranda Lambert
Brad Paisley
Keith Urban
Zac Brown Band

2010 shook up the category, with three first-time contenders in the running for the crown for the first time since 1981. Despite all the new blood, sixth time proved to be the charm for Brad Paisley, who finally won this award after five consecutive losses. Paisley’s persistent popularity helped him earn the nod in a year where the two previous winners weren’t even nominated.

2011

Jason Aldean
Brad Paisley
Blake Shelton
Taylor Swift
Keith Urban

Thirty years after Barbara Mandrell became the first woman to win this award twice, Swift became the second to do so. She won the award on the strength of her third set, Speak Now, which showcased her growing maturity as a songwriter and her growing appeal beyond her teenage and young adult fan base.

2012

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift

One of the most surprising wins in CMA history, few saw Blake Shelton’s victory coming. But it isn’t too surprising when you consider the number of artists who parlayed network television exposure into a win in this category. Perhaps in this new era of media saturation and minimal album sales, television may once again become a deciding factor when choosing the genre’s top star every year.

2013

Jason Aldean
Luke Bryan
Blake Shelton
George Strait
Taylor Swift

George Strait’s farewell tour helped return him to the category for the first time since 2009, earning him a record-extending eighteenth career nomination. Strait joins previous winners Taylor Swift (2009, 2011) and Blake Shelton (2012) in attempting a return to the winner’s circle. Luke Bryan earns his first nomination, just months after winning the ACM trophy. Jason Aldean, meanwhile, is hoping to get lucky the third time around.

Facts & Feats

Multiple Wins:

(4) – Garth Brooks, Kenny Chesney
(3) – Alabama, Alan Jackson
(2) –Vince Gill, Barbara Mandrell, George Strait, Taylor Swift, Hank Williams, Jr.

Most Consecutive Wins:

(3) – Alabama (1982-1984), Kenny Chesney (2006-2008)
(2) – Garth Brooks (1991-1992, 1997-1998), Vince Gill (1993-1994), Barbara Mandrell (1980-1981), George Strait (1989-1990), Hank Williams, Jr. (1987-1988)

Most Nominations:

(18) – George Strait
(12) – Alan Jackson
(11) – Brooks & Dunn
(10) – Reba McEntire
(9) – Garth Brooks, Kenny Chesney
(8) – Vince Gill, Merle Haggard, Brad Paisley
(7) – Keith Urban
(6) – Barbara Mandrell, Tim McGraw, Willie Nelson, Brad Paisley, Charley Pride, Keith Urban
(5) – Alabama, Loretta Lynn, Ronnie Milsap, Kenny Rogers

Most Nominations Without a Win:

(5) – Kenny Rogers
(4) – Toby Keith, Randy Travis
(3) – Jason Aldean, Waylon Jennings, The Judds, Oak Ridge Boys

Winners in First Year of Nomination:
Eddy Arnold (1967), Garth Brooks (1991), Glen Campbell (1968), John Denver (1975), Charlie Rich (1974), Taylor Swift (2009), Mel Tillis (1976), Shania Twain (1999), Keith Urban (2004), Hank Williams, Jr. (1987)

CMA Entertainers of the Year Who Have Never Won the ACM Award:
Eddy Arnold, Johnny Cash, Glen Campbell, Roy Clark, John Denver, Vince Gill, Alan Jackson, Tim McGraw, Ronnie Milsap, Brad Paisley, Charlie Rich, Blake Shelton, Ricky Skaggs, Taylor Swift, Mel Tillis, Keith Urban

ACM Entertainers of the Year Who Have Never Won the CMA Award:
Luke Bryan, Mac Davis, Mickey Gilley, Freddie Hart, Toby Keith, Kenny Rogers, Carrie Underwood

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Tagged as Alabama, Alan Jackson, Barbara Mandrell, Bill Anderson, Blake Shelton, Brad Paisley, Brooks & Dunn, Buck Owens, Charley Pride, Charlie Daniels, Charlie Daniels Band, Charlie Rich, Clint Black, Conway Twitty, Crystal Gayle, Dixie Chicks, Dolly Parton, Eddy Arnold, Faith Hill, Freddie Hart, Garth Brooks, George Jones, George Strait, Glen Campbell, Hank Williams Jr., Highway 101, Jason Aldean, Jerry Reed, John Denver, Johnny Cash, Kathy Mattea, Keith Urban, Kenny Chesney, Kenny Rogers, Lady Antebellum, Larry Gatlin & The Gatlin Brothers, Lee Greenwood, Loretta Lynn, Luke Bryan, Mac Davis, Marty Stuart, Mel Tillis, Merle Haggard, Miranda Lambert, Oak Ridge Boys, Olivia Newton-John, Randy Travis, Rascal Flatts, Reba McEntire, Ricky Skaggs, Ricky Van Shelton, Ronnie Milsap, Roy Clark, Shania Twain, Sonny James, Statler Brothers, Sugarland, Taylor Swift, The Judds, Tim McGraw, Toby Keith, Tom T. Hall, Travis Tritt, Vince Gill, Waylon Jennings, Willie Nelson

by Tara Seetharam | November 2, 2013 · 1:41 am

2013 CMA Awards: Staff Picks & Predictions

They’re as hope-dangling and ridiculous as they’ve ever been, those Country Music Association voters, and the CU staff has picked and predicted their 2013 awards below. Let us know what you think, and check back for our live blog on Wednesday at 7 p.m. CST!

Entertainer of the Year

Should Win:

Jason Aldean
Luke Bryan
Blake Shelton
George Strait
Taylor Swift

Will Win:

Jason Aldean
Luke Bryan
Blake Shelton – Dan, Ben, Jonathan, Tara, Kevin
George Strait
Taylor Swift

Dan: Sadly, it’s become hard to care about the night’s biggest prize. Swift and Strait are the two I can stomach right now, and neither of them actually had much to do with the country scene this past year—the former because she was flexing her pop muscles, the latter because he’s winding down.

Ben: I want to care, but I really don’t. There’s only one artist whom I could have supported unequivocally, and she didn’t get a nomination.

Jonathan: The CMAs have a tendency to lag a few years behind peak commercial trends, so I think Bryan will have to wait another year or two before he takes this award. While Bryan, Aldean, and Shelton could split votes among the bro contingent (presumably, to the benefit of Strait), I think Shelton’s visibility will be enough to earn him another win here.

Tara: This was Carrie Underwood’s year. I’m angry, unsurprised and completely apathetic about the rest of these contenders.

Kevin: Shelton won last year and if anything, his star has only shone brighter this year. That being said, if I was a CMA voter, I’d leave this category blank. Carrie Underwood was this year’s Entertainer of the Year.

Male Vocalist of the Year

Should Win:

Jason Aldean
Luke Bryan – Kevin
Eric Church – Ben, Jonathan, Tara, Dan
Blake Shelton
Keith Urban

Will Win:

Jason Aldean
Luke Bryan – Dan, Ben, Jonathan, Tara
Eric Church
Blake Shelton – Kevin
Keith Urban

Dan: Again, pretty indifferent here.

Ben: Church was between albums this year, but he’s the one whom I feel has represented country music the best. With Urban being past his commercial peak, I’m going to give the edge to Luke Bryan for his current red-hot momentum, but I honestly couldn’t care less which of the three dudebros gets it.

Jonathan: I’d replace four-fifths of this lineup with Gary Allan, Dierks Bentley, Darius Rucker, and Chris Young. If Bryan won’t win Entertainer of the Year, this will be his consolation prize.

Tara: I feel a little guilty rewarding Church’s residual awesomeness from Chief over Aldean’s admittedly solid year, but I’m still one redeeming single away from getting over “She’s Country.” Like Jonathan said, though, I think this is where the voters will reward Bryan.

Kevin: I’d give it to Bryan simply because he’s had a good year and has a good voice. Another Shelton win seems inevitable to me.

Female Vocalist of the Year

Should Win:

Kelly Clarkson
Miranda Lambert
Kacey Musgraves
Taylor Swift
Carrie Underwood – Dan, Ben, Jonathan, Tara, Kevin

Will Win:

Kelly Clarkson
Miranda Lambert – Dan, Ben, Jonathan, Kevin
Kacey Musgraves – Tara
Taylor Swift
Carrie Underwood

Dan: Who knows? Voters could give Lambert a record-tying (with Reba McEntire) four-peat, or maybe give Underwood her fourth trophy instead, or maybe give Swift a second one just to be zany, or dismiss the stats entirely and make a surprise investment in Musgraves. I can imagine any of those scenarios playing out.

Ben: I’ll probably be 100% Team Kacey at next year’s ACMs, but right now I want to see Underwood recognized for her incredible Blown Away era. As Dan noted above, this category is difficult to predict this year. I’m going to play it safe and bet on Lambert, but Kelly Clarkson is the only one without a shot.

Jonathan: Since there are far stronger albums than Blown Away in contention for Album of the Year, this is where I’d prefer to see Underwood recognized for the artistic gains she’s made during her current era. Lambert basically told voters to do just that during her acceptance speech for Female Vocalist of the Year during the ACMs a few months back, but it seems doubtful that they will. She seems poised to repeat, even though she’s coming off the most poorly received and lowest selling run of her career. Based on the quality of what was released during the eligibility period, I would have preferred to see Brandy Clark, Ashley Monroe, Kellie Pickler, and LeAnn Rimes squaring off against Underwood.

Tara: Just going out on a limb here with Musgraves; it feels like this category is due for a change. Or maybe that change will be a throwback to Underwood? One can hope.

Kevin: I think Lambert will win out of force of habit, with bonus votes for having the good taste to cover Musgraves and Clark before they both became breakout artists this year. Underwood made the best music and, as always, sang it better than the rest.

Vocal Group of the Year

Should Win:

The Band Perry
Eli Young Band
Lady Antebellum
Little Big Town – Ben, Jonathan, Tara
Zac Brown Band – Dan, Kevin

Will Win:

The Band Perry – Kevin
Eli Young Band
Lady Antebellum
Little Big Town – Dan, Ben, Jonathan, Tara
Zac Brown Band

Dan: I suppose that Little Big Town will repeat—but with “Your Side of the Bed” having doused their white-hot momentum, it’s hard to say for sure. Perhaps voters will finally throw Zac Brown Band the bone, if Brown’s Luke Bryan comments didn’t ruffle too many feathers. [Update: And ditto what Kevin says below.]

Ben: Little Big Town may have lost some steam with “Your Side of the Bed,” but they’re still going into the ring with a platinum album and two big hit singles, and they’re one of the only groups with multiple nominations this year. The trophy is theirs to lose.

Jonathan: Had The Band Perry scored more across-the-board support, I’d say they might have been able to pull off the upset here, but this remains Little Big Town’s to lose. Hopefully, a repeat victory will lend “Sober,” one of the year’s finest singles and arguably a new career-best for LBT, greater momentum at radio.

Tara: Cheers to that, Jonathan. Agreed.

Kevin: The Band Perry had a new album this year that was well-received. My personal pick is Zac Brown Band, only because I want last year’s Little Big Town win to start a new era in this category of acknowledging the overdue. Having the Dixie Chicks rack up four wins in five years is one thing. Rascal Flatts and Lady Antebellum dominating in the same way robbed the award of its luster. Last year, it got a little back. Let’s keep it going.

Vocal Duo of the Year

Should Win:

Big & Rich
The Civil Wars – Dan, Ben, Jonathan, Tara, Kevin
Florida Georgia Line
Love and Theft
Sugarland
Thompson Square

Will Win:

Big & Rich
The Civil Wars
Florida Georgia Line – Dan, Ben, Jonathan, Tara, Kevin
Love and Theft
Sugarland
Thompson Square

Dan: After years of sluggish Sugarland and shruggish Thompson Square, at least this year’s winning duo will have clear commercial heft behind them. Too bad I’m talking about Florida Georgia Line and not the also-quite-successful Civil Wars.

Ben: Whatever.

Jonathan: Same as it ever was: This category is years overdue to merge with Vocal Group. And the nomination for Sugarland is absurd.

Tara: I can’t decide what’s more amusing: Sugarland’s nomination or Florida Georgia Line’s inevitable win. (Although it does kind of feel like Sugarland is still haunting country radio with that new Band Perry single, no?)

Kevin: The Civil Wars. I swear they’re only nominating them so we can feel extra bad when they lose to Florida Georgia Line. (See: Rascal Flatts over Alison Krauss & Union Station, Martina McBride over Dolly Parton and Patty Loveless…)

New Artist of the Year

Should Win:

Lee Brice
Brett Eldredge
Florida Georgia Line
Kacey Musgraves – Dan, Ben, Jonathan, Tara, Kevin
Kip Moore

Will Win:

Lee Brice
Brett Eldredge
Florida Georgia Line – Dan, Ben
Kacey Musgraves – Jonathan, Tara, Kevin
Kip Moore

Dan: Musgraves is class valedictorian, and Moore’s a solid B+ student, but expect the boys of Florida Georgia Line to cruise in on baseball scholarship and come out on top.

Ben: Musgraves has a chance, but I don’t know if her critical clout will be enough to compete with the “Cruise” phenomenon.

Jonathan: That Musgraves is the night’s leading nominee gives me hope that she can overcome Florida Georgia Line’s commercial heft. That she had the balls to push “Follow Your Arrow” as a proper single puts me firmly in her corner.

Tara: Moore is my personal favorite here, but Musgraves outclasses them all. I’ll throw my optimism in with Jonathan and Kevin.

Kevin: This is a defining moment for the CMA’s. Musgraves will help restore their credibility. Florida Georgia Line will destroy what’s left of it. FWIW, Ricky Skaggs beat Lee Greenwood and Mark Chesnutt beat John Michael Montgomery. Then again, Rascal Flatts beat Nickel Creek and Terri Gibbs beat Rosanne Cash…

Album of the Year

Should Win:

Little Big Town, Tornado – Jonathan
Kacey Musgraves, Same Trailer Different Park – Dan, Ben
Blake Shelton, Based On a True Story…
Taylor Swift, Red
Carrie Underwood, Blown Away – Tara, Kevin

Will Win:

Little Big Town, Tornado – Ben, Tara
Kacey Musgraves, Same Trailer Different Park – Jonathan
Blake Shelton, Based On a True Story… – Dan
Taylor Swift, Red
Carrie Underwood, Blown Away – Kevin

Dan: Tough call. In recent years, the CMA has coalesced around the album with the most “story” value, whether that story was total domination (Fearless, My Kinda Party) or a respected artist finally hitting pay dirt (Revolution, Chief). Tornado seems like a fit for that second grouping, except that Little Big Town’s pay dirt was already last year. So the field seems open.

Ben: Of the four albums that have any real business being nominated for country awards, I consider the Musgraves set to be the strongest, but my gut says that it’s going to come down to either Shelton or Little Big Town. I’m going to be optimistic and predict an LBT victory.

Jonathan: I’m not nearly as bullish on Musgraves’ album as many others are, but it seems like this is safest place for voters to recognize her distinctive, critically acclaimed work. Tornado is my pick for the most consistently excellent set of this line-up; Red hits some glorious highs, but it’s also wildly uneven and has little business being recognized as a country album.

Tara: Tornado has some really fantastic production, and Blown Away is a stand-out showcase of Underwood’s interpretive abilities. Personal investment puts me in Underwood’s camp, but based on momentum and the fact that Musgraves is new, I think Little Big Town will take this.

Kevin: Musgraves has the most critical support, but Underwood made a much better album, in my opinion. I’m going out on a limb here and saying Underwood will win. My logic is that she had an incredible year and this is the best category to acknowledge that in. Also, a debut album has never won this award. There’s always a first time, but Musgraves has a lot of history up against her here.

Single of the Year

Should Win:

Florida Georgia Line, “Cruise”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Miranda Lambert, “Mama’s Broken Heart” – Jonathan, Tara, Kevin
Kacey Musgraves, “Merry Go ‘Round” – Dan, Ben
Darius Rucker, “Wagon Wheel”

Will Win:

Florida Georgia Line, “Cruise” – Dan, Jonathan, Ben
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Miranda Lambert, “Mama’s Broken Heart”
Kacey Musgraves, “Merry Go ‘Round”
Darius Rucker, “Wagon Wheel” – Tara, Kevin

Dan: “Cruise” is the behemoth here, and behemoths tend to win Single.

Ben: Dan said it.

Jonathan: I’d like to think that a record-setting run atop Billboard’s ridiculous mongrel chart would be its own reward, but it probably won’t be.

Kevin: There have been some goofy winners in the past. “Elvira.” “Achy Breaky Heart.” “Bop.” But there aren’t any in the recent past. I think that “Wagon Wheel” allows the CMA to pick a big mainstream hit that has a bit of alt-country cred, should they decide against a Musgraves sweep.

Tara: I agree with Kevin that “Wagon Wheel” seems like a nice compromise for the voters. I’d be cool with any of the latter three winning, but to me, “Mama’s Broken Heart” has the most momentum from start to finish.

Song of the Year

Should Win:

“I Drive Your Truck” (Lee Brice) – Jessi Alexander, Connie Harrington and Jimmy Yeary
“Mama’s Broken Heart” (Miranda Lambert) – Brandy Clark, Shane McAnally and Kacey Musgraves – Kevin
“Merry Go ‘Round” (Kacey Musgraves) – Kacey Musgraves, Shane McAnally and Josh Osborne – Dan, Ben, Tara
“Pontoon” (Little Big Town) – Barry Dean, Natalie Hemby and Luke Laird
“Wagon Wheel” (Darius Rucker) – Bob Dylan and Ketch Secor – Dan, Jonathan

Will Win:

“I Drive Your Truck” (Lee Brice) – Jessi Alexander, Connie Harrington and Jimmy Yeary - Dan, Jonathan
“Mama’s Broken Heart” (Miranda Lambert) – Brandy Clark, Shane McAnally and Kacey Musgraves
“Merry Go ‘Round” (Kacey Musgraves) – Kacey Musgraves, Shane McAnally and Josh Osborne – Ben, Tara, Kevin
“Pontoon” (Little Big Town) – Barry Dean, Natalie Hemby and Luke Laird
“Wagon Wheel” (Darius Rucker) – Bob Dylan and Ketch Secor

Dan: “Wagon Wheel” is a proven standard, but voters will probably want to go with something newer, and I guess I do, too. There’s a decent chance that Musgraves will get acknowledged here with “Merry Go ‘Round,” but with two co-writes in the pool, her danger is vote-splitting—and if that does happen, I defer to Jonathan’s logic below. Plus, frankly, CMA voters love songs about deceased loved ones.

Ben: It’s definitely possible that vote-splitting may be turn out to be Musgraves’ undoing in this category, but my guess is that “Merry Go ‘Round” will ultimately overshadow “Mama’s Broken Heart,” and that this will be where she gets her trip to the podium.

Jonathan: I’m all-in for the idea of recognizing brilliant songs that should have been hits a decade ago. Next year, can we get Drive-By Truckers’ “Outfit” or Neko Case’s “Deep Red Bells,” please? This year, I just can’t see the CMA giving an award to Bob Dylan, and, as much as I’d love to see Brandy Clark win, I think the Musgraves co-writes will split votes. Which leaves a frivolous holdover from last year to face off against the only “truck” song in years that’s worth even half a damn. I think the latter pulls off the night’s only real upset.

Tara: Lots of solid choices here; even “Pontoon” has a melody worth respecting. “Merry Go ‘Round” just edges out “Mama’s Broken Heart” for me, but I think the voters will be more pointed with their choice and reward Musgraves for her breakout song.

Kevin: “Merry Go ‘Round” fits in well with previous female writer wins. Distinct point of view, attention to details, and some quiet feminist commentary. My pick is “Mama’s Broken Heart”, which I think is just brilliant. “Line your lips and keep them closed.” Wow.

Music Video of the Year

Should Win:

Carrie Underwood, “Blown Away” – Ben, Kevin, Tara
Blake Shelton featuring Pistol Annies, “Boys ‘Round Here”
Lady Antebellum, “Downtown”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Miranda Lambert, “Mama’s Broken Heart”
Little Big Town, “Tornado” – Dan, Jonathan

Will Win:

Carrie Underwood, “Blown Away” – Dan, Ben, Jonathan, Kevin, Tara
Blake Shelton featuring Pistol Annies, “Boys ‘Round Here”
Lady Antebellum, “Downtown”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Miranda Lambert, “Mama’s Broken Heart”
Little Big Town, “Tornado”

Dan: The Underwood clip was made to win this award, but I find it silly. Why does she have lie around all sexily on that bed in the tornado shelter?

Ben: Little Big Town’s “Tornado” is also a worthy contender, but Underwood’s “Blown Away” video is an absolute tour de force.

Jonathan: The idea that this could be how the Pistol Annies win a CMA award just makes my teeth hurt. As big a fan of hers as I may be, Miranda’s mugging in the video for “Mama’s Broken Heart” makes her laughable acting gig on Law & Order: Perverts Unit seem measured and subtle by comparison.

Kevin: Because why shouldn’t there be two winners in this category that give homage to Oz?

Tara: Tornadoes scares the crap out of me.

Musical Event of the Year

Should Win:

Blake Shelton featuring Pistol Annies, “Boys ‘Round Here”
Florida Georgia Line featuring Nelly, “Cruise” (Remix)
Kelly Clarkson featuring Vince Gill, “Don’t Rush” – Jonathan, Ben, Tara
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care” – Dan, Kevin
Jason Aldean with Luke Bryan and Eric Church, “The Only Way I Know”

Will Win:

Blake Shelton featuring Pistol Annies, “Boys ‘Round Here”
Florida Georgia Line featuring Nelly, “Cruise”
Kelly Clarkson featuring Vince Gill, “Don’t Rush”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care” – Jonathan, Ben, Dan, Kevin, Tara
Jason Aldean with Luke Bryan and Eric Church, “The Only Way I Know”

Ben: Clarkson and Gill made the best record of the lot, but it doesn’t have the commercial muscle to pull off a victory, so I’m giving the edge to McGraw and Company.

Jonathan: Cosigning Ben’s comment, word for word.

Dan: “Highway Don’t Care” is kinda weird and meh, but it’s not “Boys ‘Round Here” and “The Only Way I Know”. For this, I am grateful.

Tara: I swear I’m not throwing this to Clarkson and Gill just because they’re Clarkson and Gill – I can stomach not one of these other songs. Part of me thinks Aldean and co. might take this, but McGraw and co. seems more likely.

Kevin: “Highway Don’t Care” made me enjoy both McGraw and Swift as singers, not just song pickers/songwriters. For that alone, the win.

Musician of the Year

Should Win:

Sam Bush (Mandolin) – Jonathan, Ben
Paul Franklin (Steel Guitar) – Kevin
Dann Huff (Guitar)
Brent Mason (Guitar)
Mac McAnally (Guitar)

Will Win:

Sam Bush (Mandolin)
Paul Franklin (Steel Guitar) – Jonathan, Ben, Kevin
Dann Huff (Guitar)
Brent Mason (Guitar)
Mac McAnally (Guitar)

Ben: I’ll be all for Paul Franklin next year thanks to Bakersfield, but this year I would like to see Sam Bush get his due.

Jonathan: Bush may not have a MacArthur fellowship like Chris Thile, but his progressive mandolin work is certainly overdue for recognition. Hard to begrudge Franklin, though, as Bakersfield is one of the year’s best albums.

Kevin: Until he wins. I will pick him until he wins.

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Filed under CMA Awards

Tagged as Big & Rich, Blake Shelton, Bob Dylan, Brandy Clark, Brett Eldredge, Carrie Underwood, Darius Rucker, Eli Young Band, Eric Church, Florida Georgia Line, George Strait, Jason Aldean, Kacey Musgraves, Keith Urban, Kelly Clarkson, Kip Moore, Lady Antebellum, Lee Brice, Little Big Town, Love and Theft, Luke Bryan, Miranda Lambert, Nelly, Paul Franklin, Pistol Annies, Sugarland, Taylor Swift, The Band Perry, The Civil Wars, Thompson Square, Vince Gill, Zac Brown Band

by Ben Foster | October 22, 2013 · 9:01 am

Round Table Album Review: Brandy Clark, 12 Stories

Brandy Clark
12 Stories

Our Brandy Clark coverage continues with a round table review of her hotly anticipated debut album, which is out today.

She teased us earlier this year with “Stripes,” which I proudly awarded an A in my review of the song, calling it “a clever and original, not to mention humorous, twist on a tried-and-true country music theme.” It was more than enough to whet our appetites for the album to follow, which ended up going so far as to supersede expectations.

A foremost theme on the aptly-titled 12 Stories is the near-universal desire to escape from something, whether it’s an unhappy marriage, a dead-end job or the everyday stresses of life – even if the respite is only momentary. The stories are laced with striking first-person attention to detail, while often using surprisingly plainspoken language to tap into deep wells of emotion. Though Clark’s songwriting gifts are already well documented – see Kevin’s recent feature – it’s a special treat to finally get to hear what a strong singer she is, her songs beautifully realized through moving, expressive performances.

While the entire album warrants a recommendation, we at Country Universe are pleased to share some favorite tracks from one of our favorite releases of the year.

“Pray to Jesus”

So many of the hired-gun songwriters in Nashville today have adopted a “write what you know” ethos and have then shown a perverse kind of pride in proving that they know absolutely nothing of real value. In stark contrast, “Pray to Jesus,” the first of Clark’s 12 Stories, packs enough into its scant running time and plainspoken, salt-of-the-earth imagery that it probably merits a good 3000 words to delve into what, exactly, Clark knows. Shattering any lingering illusions of upward social mobility in modern America, she delivers a withering cultural commentary that’s noteworthy not for its irony or class condescension but for its empathy and bleak but still good-natured humor. - Jonathan Keefe

Written by Brandy Clark and Shane McAnally

Listen

“What’ll Keep Me Out of Heaven”

Ultimately, the factor that makes Clark’s album so accessible is the realistic nature of each song. The stories are raw, real and relatable in one way or another–whether it’s being able to personally relate, knowing somebody who can, or at least being able to imagine the predicament. While it may not be about contemplating cheating, we can all relate to a black and white situation that still feels grey somehow. If not that, Clark’s portrayal of such a scenario manages to invoke sympathy for the song’s focal character, even as you’re mentally willing her not to carry out the act.

Every element of “What’ll Keep Me Out of Heaven”, including Clark’s intimate performance and a sympathetic production, works perfectly together to create the vulnerability imperative for a believable cheating song. Vince Gill’s always winning background support is just the icing on the cake. - Leeann Ward

Written by Brandy Clark and Mark Stephen Jones

Listen

“Hold My Hand”

12 Stories is a snapshot of life –dirty, messy, redeeming life—taken by a woman with a keen appreciation for its grey areas. Against that backdrop, “Hold My Hand” feels like the exception, a quiet moment of ex-girlfriend-fueled insecurity that isn’t all that complicated. But it’s no less observant: Clark brings to the song a visceral understanding of the female psyche, gently giving weight to the smallest of gestures. Her request for reassurance is a vulnerable one, of course, but leave it to her to make it with such purpose. - Tara Seetharam

Written by Brandy Clark and Mark Stephen Jones

Listen

“Take a Little Pill”

Nashville has become pretty flippant about recreational drug use in recent years, but Clark’s take on self-medicating is much more harrowing. It’s a delicate topic if you try to approach it seriously, but she deftly shows sympathy for people trapped in a spiral of addiction while offering some barbs toward a society that encourages pill-popping as a solution for any problem. - Sam Gazdziak

Written by Brandy Clark, Shane McAnally and Mark D. Sanders

Listen

“Hungover”

There’s a thread of hope and optimism in this song that makes you root for the woman who is slowly taking control of her life, in spite of the love she still has for the man she is slowly leaving behind. The triumph of her just buying a ticket and going to her sister’s feels like an “Independence Day”- level climax, simply because the character was drawn so perfectly from the beginning. - Kevin John Coyne

Written by Brandy Clark, Shane McAnally and Jessie Jo Dillon

Listen

“The Day She Got Divorced”

This song feels like the lazy choice off Clark’s album, since, hey, even “Turn on the Radio”/”If I Were a Boy”-era Reba couldn’t ignore its greatness. Still, out of all the colorful women sketched on 12 Stories, I keep coming back to the one drinking extra-strong coffee, shrugging off household cleaning, and humoring an empty fling with her married boss. Perhaps it’s because of how impressively the song marries simple craft to complex feeling, arranging its crisp, little details into a vivid picture of mid-life disillusionment. Or maybe it’s all the fun quirks that mark a writing team in confident control of their powers: “dirty dinner dishes,” “wudn’t that sorry, wudn’t that sad,” and of course, the delicious, dramatic title phrase. I guess it’s all of the above, though. “The Day She Got Divorced” is like if a primetime soap like Nashville were written with the precision of a Mad Men and the personality of a Buffy. It’s the best. - Dan Milliken

Written by Brandy Clark, Shane McAnally and Mark D. Sanders

Listen

“Just Like Him”

For all the bold, in-your-face fun of “Stripes” and “Crazy Women,” Clark’s characters are often disarmingly vulnerable. With “Just Like Him,” Clark gives voice to a woman who has grown up with a neglectful, overbearing alcoholic father, only to find her adult self in a relationship with the same sort of man. Arguably, the song’s most potent moment is when Clark heaves a heavy sigh and concludes “I can’t do this again” – a credit to her abilities as an interpretive singer.

The tale is beautifully augmented by a fully realized melody and by David Brainard’s near flawless production job, with strains of harmonica, piano and cello echoing the narrator’s hurt and disappointment. It’s a testament to the fact that the right melody, vocal reading, and production possess a power to elevate something already great into something truly unforgettable. - Ben Foster

Written by Brandy Clark, Shane McAnally and Jessie Jo Dillon

Listen

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Filed under Album Reviews, Roundtable Reviews

Tagged as Brandy Clark, Reba McEntire, Vince Gill

by Tara Seetharam | November 19, 2012 · 5:41 pm

Single Reviews Round-Up: Katie Armiger, Brett Eldredge, Justin Moore, Kelly Clarkson ft. Vince Gill, Miss Willie Brown, & Jason Aldean ft. Luke Bryan and Eric Church

Katie Armiger, “Better in a Black Dress”

Written by Katie Armiger and Blair Daly

An ode to being a chains-free, red wine-drinking hot mess could be tacky and unnecessarily snarky. In Armiger’s hands, it’s tasteful, swampy and empowering. Grade: B+

Brett Eldredge, “Don’t Ya”

It’s been awhile since we’ve heard a voice as soulful as Eldredge’s massage a melody as enticing as this one. “Just Got Started Loving You” this song is not, but with its sly lyrics and irresistible chorus, it comes close. Grade: B+

Justin Moore, “Til My Last Day”

Written by Brian Dean Maher, Justin Moore & Jeremy Stover

This year, country radio’s dark horse is the deceptively solid, slightly retro, mid-tempo song – think “Hard to Love,” “Time is Love,” “Beer Money” and “Lovin’ You is Fun.” Moore’s latest trails the pack, an earworm whose earnestness boosts it from bland to charming. Grade: B

Kelly Clarkson ft. Vince Gill, “Don’t Rush”

Written by Lindsay Chapman, Natalie Hemby & Blu Sanders

You can’t blend two of the greatest voices of our generation without a decent result. Unfortunately, that’s all this is – a pleasant, sweetly sung sleeper that doesn’t do much to elevate either of these enormous talents. Grade: B-

Miss Willie Brown, “You’re All That Matters to Me”

Written by Robert John “Mutt” Lange

A manic, over-the-top love letter that’s simply not wacky enough to be the self-parody that its music video suggests. Grade: C

Jason Aldean ft. Luke Bryan and Eric Church, “The Only Way I Know”

Written by Ben Hayslip and David Lee Murphy

Three of the fastest-rising male artists in country music are also three of the most distinct male artists in country music, each having built his fanbase on a unique persona and brand of swagger. Oddly, this collaboration seems to meld their personalities together into one that’s less interesting than all three.

But that’s not the bigger issue at hand. The song sinks because of its empty lyrics, its jarring theme of “humble pride” against a needlessly aggressive arrangement, and its subtle implication that a work ethic cut from a different cloth than the narrators’ is a lesser one.

Grade: D

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Filed under 5 Five-Second Single Reviews

Tagged as Brett Eldredge, Eric Church, Jason Aldean, Justin Moore, Katie Armiger, Kelly Clarkson, Luke Bryan, Miss Willie Brown, Vince Gill

by Kevin John Coyne | August 12, 2012 · 8:56 am

100 Greatest Men: #38. Vince Gill

100 Greatest Men: The Complete List

He spent most of the eighties struggling for recognition, but thanks to his smooth ballads and country’s suddenly expanded audience, Vince Gill emerged as one of the biggest superstars of the nineties.

Born and raised in Oklahoma, he followed in the footsteps of his musician father, but while it was a hobby for his dad, it became Vince’s life mission. His ability to play several different instruments and his talent for harmonizing earned him a place in local bands, and he moved to Kentucky and then to Los Angeles seeking out further opportunities. An audition for the Pure Prairie League in 1979 resulted in him becoming their new lead singer, and Gill had his first taste of success when their single, “Let Me Love You Tonight”, topped the adult contemporary charts and cracked the pop top ten.

He left the band to join Rodney Crowell’s backing group, Cherry Bomb, only a few years after he had played a similar backing role for Ricky Skaggs. His time with Cherry Bomb connected him to Tony Brown, the musician and record executive who signed him to RCA in 1981. For the next several years, stardom remained just out of reach for Gill, who managed to score just three top ten hits with the label. He was better known for his session work as a guitarist and as a harmony singer, with his distinctive vocals appearing on #1 hits by Rosanne Cash (“I Don’t Know Why You Don’t Want Me”) and Patty Loveless (“Timber I’m Falling in Love.”)

When Brown left RCA for MCA records, Gill followed shortly thereafter. In 1989, he released the dramatic ballad “When I Call Your Name”, featuring harmony vocals from Loveless. The record made him one of the genre’s hottest stars, setting up a decade of dominance at radio and retail. Throughout the nineties, Gill racked up a stunning run of hits and big-selling albums, with I Still Believe in You selling more than five million copies on the strength of four #1 hits.

Gill alternated between rave-ups that featured his guitar prowess and power ballads that brought country’s traditional heartache sound into the late twentieth century. Despite his new popularity, he still did as much session work as ever, happily accepting offers to sing and play on the albums of anyone who requested him to. He became known as the genre’s leading gentleman, and his quick wit led to him hosting the CMA awards for more than a decade. Because of both his talent and his work with other artists, Gill dominated the two award shows voted on by his peers, winning more than a dozen Grammys and CMA awards. He is tied with George Strait for the most CMA Male Vocalist trophies, and holds the record for the most wins in the Song of the Year category.

As radio support slowly dwindled toward the late nineties, Gill focused on making ambitious albums, most notably the four-CD set These Days, which earned him another pair of Grammys and a platinum award. He was inducted into the Nashville Songwriters Hall of Fame in 2005, and he was one of the youngest inductees in history to the Country Music Hall of Fame in 2007. A marriage to fellow singer Amy Grant has kept him focused more on family than music in recent years, but he still tours regularly and remains an Opry staple. His most recent set, Guitar Slinger, hit shelves in 2011 and earned him multiple songwriting nominations for the lead single, “Threaten Me with Heaven.”

Essential Singles:

When I Call Your Name, 1990
Look at Us, 1991
I Still Believe in You, 1992
Don’t Let Our Love Start Slippin’ Away, 1992
Whenever You Come Around, 1994
Go Rest High on That Mountain, 1995
Worlds Apart, 1996
If You Ever Have Forever in Mind, 1998

Essential Albums:

When I Call Your Name, 1990
I Still Believe in You, 1992
When Love Finds You, 1994
High Lonesome Sound, 1996
The Key, 1998
These Days, 2006

Next: #37. The Louvin Brothers

Previous: #39. Faron Young

100 Greatest Men: The Complete List

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Filed under 100 Greatest Men

Tagged as Amy Grant, Patty Loveless, Pure Prairie League, Ricky Skaggs, Rodney Crowell, Rosanne Cash, Tony Brown, Vince Gill

by Ben Foster | July 27, 2012 · 8:48 am

Album Review: Various Artists, <i>KIN: Songs by Mary Karr & Rodney Crowell</i>

Various Artists
KIN: Songs by Mary Karr & Rodney Crowell

A collection of songs written by industry veteran Rodney Crowell along with bestselling author and poet Mary Karr, recorded by a who’s who of country and Americana music greats. It should be enough to set the mouth of many a roots music aficiando watering.

The very concept behind the album places the emphasis squarely on the songwriting – an approach that is flawlessly adhered to by Joe Henry’s ace cialis no prescription needed quick delivery production job. The twangy, stripped-down arrangements stay entirely out of the way of the songs, often reverently nodding to the conventions of traditional country music. It doesn’t feel so much as a rote exercise in throwback neotraditionalism, but more so as a style that simply feels timeless and ageless on its own merits, untainted by production trends that might tie it to a particular era.

In large part, what’s impressive about this album is that, despite the eclectic line-up of participating artists, KIN doesn’t feel like a potluck project of songs randomly thrown together. It really does feel like an album, with each track serving as a part of a cohesive whole, bound together by recurring themes of family and rural small town life. Karr’s liner notes reveal that for song inspiration, she and Crowell drew heavily upon their own youthful experiences, having come from very similar upbringings despite not having grown up together. However, the treatment of such topics is hardly lily-white, with family homes often sporting bullet holes and reeking of alcohol.

Crowell himself steps up to the mic on four of the albums ten tracks, sharing it with Kris Kristofferson on the standout duet “My Father’s Advice,” which boasts an infectious melody and fiddle hook. While country radio often favors the proverbial “old man’s advice” song, “My Father’s Advice” rises above the often cliché-laden mainstream treatment of such subject matter by creating a believable, three-dimensional character sketch of the narrator’s father – realistically imperfect, but deeply devoted to rearing his son in the right way, with Kristofferson giving voice to the father figure of Crowell’s narrator. Crowell’s other vocal turns include the noncharting single “I’m a Mess,” along with album opener “Anything But Tame,” a wistful meditation on the course taken by a childhood friendship.

The contributions of the participating artists are no less stellar. Having built a career as a mainstream country artist with a moderate neotraditionalist bent, Lee Ann Womack has never sounded better than when paired with a fiddle-drenched pure country arrangement. A jaunty tempo and dobro hook bely the dark lyric as Womack sings from the perspective of a child witnessing the dissolution of her alcoholic parents’ marriage on album standout “Momma’s On a Roll.” In keeping with the family theme, the camaraderie of sisterhood is explored with “Sister Oh Sister,” which Crowell’s ex-wife Rosanne Cash renders with deep sincerity. Vince Gill’s sweet tenor absolutely soars when paired with the stone cold throwback arrangement of “Just Pleasing You” – a traditional country gem that wouldn’t sound out of the place in the legendary Hank Williams catalog. Lucinda Williams sounds downright desperate in her delivery of the aching ballad “God I’m Missing You,” while Norah Jones turns in a delightfully wry take on “If the Law Don’t Want You” – a witty tune inspired by Mary Karr’s teenage years. Times past have attested to the fact that no Rodney Crowell song can hope for a finer vocal medium than the incomparable Emmylou Harris, who delivers the haunting “Long Time Girl Gone By” in an earthy whisper of a performance.

Crowell closes out the set with “Hungry For Home,” a charming detail-laden lyric that encapsulates the warmth and comfort of one’s home – something that can be found even in a home long beset with family strife. It’s a fitting conclusion to the album as a whole, showing that – despite the hardships Karr and Crowell both dealt with in their respective upbringings on into adult life – they clearly retain a deep appreciation for the experiences that have shaped them as individuals. “It was like we’d grown up next door in a hellacious place – the anus of the universe, my mother always called it,” writes Karr. “But we adored those characters and their language – we’d never choose elsewhere.”

Considering that country music has long been a primarily singles-oriented format, it’s refreshing to see such a fine realization of the album as an art form. Though each individual piece is captivating in itself, KIN remains an album best heard in its entirety, with hardly a weak track to be found. The entire project radiates authenticity, as Karr and Crowell essentially hand over their respective family photo albums for music lovers to leaf through, making KIN feel very much like a memoir set to music. One would certainly hope that Karr and Crowell continue to write excellent songs together, and that the results will be at least half as rewarding as they are on this fine album.

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Filed under Album Reviews

Tagged as Hank Williams, Lee Ann Womack, Lucinda Williams, Mary Karr, Norah Jones, Rodney Crowell, Rosanne Cash, Vince Gill

by Kevin John Coyne | July 8, 2012 · 6:17 pm

100 Greatest Men: #47. Rodney Crowell

100 Greatest Men: The Complete List

First as a songwriter, then as a new country superstar, and currently as an alternative country icon, Rodney Crowell has made an indelible mark on country music for nearly four decades.

Born and raised in Houston, Texas, he was already a bandleader in high school, heading up a teenage outfit called the Arbitrators. He was only 22 when he moved to Nashville, and by 1975, he’d been discovered by Jerry Reed, who heard him doing an acoustic set. Reed not only recorded one of his songs, but also signed him to his publishing company.

Crowell was soon a member of Emmylou Harris’ Hot Band, and she was the first to record some of his compositions that went on to be big hits for other artists, including: “I Ain’t Living Long Like This”, a #1 hit for Waylon Jennings; “‘Til I Gain Control Again”, a #1 hit for Crystal Gayle; “Leavin’ Louisiana in the Broad Daylight”, a #1 hit for the Oak Ridge Boys; and “Ashes By Now”, a top five hit for Lee Ann Womack.

His remarkable songwriting talent led to a record deal with Warner Bros. While a trio of albums for the label were critically acclaimed, they failed to earn him success on the radio or at retail. But as would be the case for his entire career, other artists mined those records for hits. Most notably, “Shame on the Moon” became a #2 pop hit for Bob Seger & the Silver Bullet Band.

Crowell took a break from his solo career to focus on his songwriting and production responsibilities for then-wife Rosanne Cash. This would be yet another successful avenue for Crowell, as his work with Cash produced several #1 singles and three gold albums. The relationship also helped set his solo career on fire. After signing with Cash’s label Columbia, his second set for the project was previewed with a duet with Cash, “It’s Such a Small World.”

It became the first of five consecutive #1 singles from Diamonds & Dirt, a gold-selling disc that briefly made Crowell an A-list country star, as five additional Cash singles that he had produced also hit #1 over the same time period. He received a Grammy award for Best Country Song for “After All This Time.” Two foll0w-up albums for Columbia also produced a handful of hits, with his final mainstream success being the pop crossover hit, “What Kind of Love.”

In the nineties, Crowell recorded two albums for MCA which were well-reviewed, but most notable for the second set including “Please Remember Me.” It stalled as a single when Crowell released it, but later that decade, Tim McGraw’s cover topped the charts for five weeks and earned Crowell a slew of award nominations.

The new century brought a reinvention on Crowell’s part, as he repositioned himself as an Americana artist with remarkable success. A trio of albums earned rave reviews, as did his collaboration with old friends like Vince Gill on The Notorious Cherry Bombs, which earned a handful of Grammy nominations and included Crowell’s “Making Memories of Us.” Once again, a current artist discovered it, and Keith Urban took it to #1 for several weeks.

Inducted into the Nashville Songwriters Hall of Fame in 2003, Crowell continues to build on his legacy as a singer, songwriter, and producer. Most recently, Crowell produced Chely Wright’s confessional Lifted off the Ground and co-wrote an album with friend Mary Karr which features their songs recorded by several artists, including Crowell himself.

Essential Singles:

I Ain’t Living Long Like This (Waylon Jennings), 1980
‘Til I Gain Control Again (Crystal Gayle), 1982
Shame on the Moon (Bob Seger & the Silver Bullet Band), 1982
It’s Such a Small World (with Rosanne Cash), 1988
I Couldn’t Leave You if I Tried, 1988
After All This Time, 1989
What Kind of Love, 1992
Please Remember Me (Tim McGraw), 1999
Making Memories of Us (Keith Urban), 2005

Essential Albums:

Ain’t Living Long Like This, 1978
Diamonds & Dirt, 1988
The Houston Kid, 2001
Fate’s Right Hand, 2002
The Outsider, 2005

Next: #46. Dwight Yoakam

Previous: #48. Kris Kristofferson

100 Greatest Men: The Complete List

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Filed under 100 Greatest Men

Tagged as Bob Seger, Chely Wright, Crystal Gayle, Emmylou Harris, Jerry Reed, Keith Urban, Lee Ann Womack, Mary Karr, Rodney Crowell, Rosanne Cash, The Notorious Cherry Bombs, The Oak Ridge Boys, Tim McGraw, Vince Gill, Waylon Jennings

by Kevin John Coyne | July 4, 2012 · 12:21 pm

100 Greatest Men: #49. Toby Keith

100 Greatest Men: The Complete List

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
Beer For My Horses (with Willie Nelson), 2003
I Love This Bar, 2003
As Good as I Once Was, 2005
Red Solo Cup, 2011

Essential Albums:

Toby Keith, 1993
Dream Walkin', 1996
Pull My Chain, 2001
Unleashed, 2002
Shock'n Y'all, 2003

Next: #48. Kris Kristofferson

Previous: #50. Don Williams

100 Greatest Men: The Complete List

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Tagged as Toby Keith, Vince Gill, Willie Nelson

Tag Archives: Vince Gill

Country Universe’s Best Albums of 2013, Part One: #40-#21

2014 Grammy Nominees

CMA Awards: Entertainer of the Year (1967-2013)

2013 CMA Awards: Staff Picks & Predictions

Round Table Album Review: Brandy Clark, 12 Stories

Single Reviews Round-Up: Katie Armiger, Brett Eldredge, Justin Moore, Kelly Clarkson ft. Vince Gill, Miss Willie Brown, & Jason Aldean ft. Luke Bryan and Eric Church

100 Greatest Men: #38. Vince Gill

Album Review: Various Artists, <i>KIN: Songs by Mary Karr & Rodney Crowell</i>

100 Greatest Men: #47. Rodney Crowell

100 Greatest Men: #49. Toby Keith

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