Tag Archives: Wanda Jackson

100 Greatest Men: #21. Elvis Presley

Elvis Presley100 Greatest Men: The Complete List

From the vantage point of history, he is the indisputable King of Rock & Roll.   But he earned that title through his ability to perform country, blues, and R&B successfully, and it is often his impact as a country artist that is most easily overlooked.

Presley was born into deep poverty in Mississippi, laying the groundwork for his exposure to American roots music.  By his teenage years, he was living in Memphis, and it is in that city where he would be discovered by Sun Records owner Sam Phillips.  His work for Sun Records cannot be overstated in its significance.  On those early recordings, he brought together elements of country, blues, and R&B into a sound called rockabilly, which created the very foundation for what would soon be known as rock and roll.  His cover of Bill Monroe’s “Blue Moon of Kentucky” was among these early recordings, as were his first big country hits: “Baby, Let’s Play House”, “I Forgot to Remember to Forget”, and “Mystery Train.”

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Hall Worthy: 2014 Edition

halloffamelogoEight years ago, we posted our second edition of Hall Worthy, a list of significant country music figures who we felt were most deserving of being in the Country Music Hall of Fame.

Since then, a lot has changed.  First and foremost, more than half of the list is now in the Hall of Fame (or, at least, headed there later this year.)  An additional entry, Wanda Jackson, is now in the Rock and Roll Hall of Fame.

A bigger change came in 2009, when new categories were introduced to ensure that two artist inductees would be represented from different eras:  The Modern Era (20-44 years of national prominence), and the Veterans Era (45+ years of national prominence.)  There are also three more categories that rotate, meaning one from each category gets in every third year:  Non-Performer, Songwriter, and Recording and/or Touring Musician.

Finally, since that list was published, our readership has grown tremendously and is incredibly well-versed on country music, past and present.  So in this new and now annual edition of Hall Worthy, we are going to run down the list of the most successful artists that are eligible but have yet to make it into the Hall of Fame, in the order of  “Hall Worthiness.”

The Modern Era:

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Alan Jackson

Scoring his first hit in 1990 with “Here in the Real World”, Alan Jackson is the most successful country artist that isn’t currently in the Hall of Fame.  His storied career has included 25 #1 hits and 49 visits to the top ten.  He’s won a slew of awards over the years, including many for his songwriting.  He is the most traditionalist of all of the nineties superstars, but has managed to stay relevant regardless of how pop the genre went over the past quarter century, selling more than forty million albums in the U.S. alone.   He should be the next inductee for the Modern Era.

Randy Travis

Randy Travis

The poster child for the new traditionalist movement was also the first true country music superstar to sell millions of records without any crossover airplay or rock press appeal.  Travis is the primary reason that Nashville turned away from pursuing pop airplay for more than a decade, realizing that there was more than enough money to be made by growing (and eventually saturating) the country market.  His debut album, Storms of Life, remains one of the greatest country albums of all-time, and songs like “Forever and Ever, Amen”, “On the Other Hand”, and “Three Wooden Crosses” were award-winning classics.

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The Judds

Put aside all of the tabloid drama and focus just on the music.  Those heavenly harmonies were reminiscent of the Carter Family, while Wynonna’s breathtaking vocals added a contemporary breadth and soulful twist to their pure country sound.  They were so commercially successful and critically acclaimed that the CMA had to change the rules of the Vocal Duo category so someone else could win Vocal Group.   Wynonna’s solo career following Naomi Judd’s retirement only further extended the legacy of this essential duo.

rickyskaggs

Ricky Skaggs

He’s often overlooked these days, as he’s made bluegrass his primary home.  But when he was a contemporary country star, he found a way to make bluegrass be contemporary country.  He was a central figure in making bluegrass music mainstream, making possible the future success of everyone from Alison Krauss & Union Station to the Dixie Chicks.   He’s managed to be both a pioneer of bluegrass music while also being a steadfast advocate for the bluegrass of old, and still scored eleven #1 country hits along the way and the CMA for Entertainer of the Year.  The Hall shouldn’t wait until he’s old enough for the Veterans Era.

patty_loveless

Patty Loveless

One of the few artists to successfully navigate both the eighties and the nineties on country radio, Patty Loveless is the most significant female artist of the Modern Era who is not yet inducted into the Hall of Fame.  Her acclaimed work for both MCA and Epic saw her develop from a singles artist with the good taste to cover Lucinda Williams, into an album artist that made critically acclaimed and surprisingly progressive traditional music.  Since fading from radio, she’s remained relevant with widely appreciated sets that delve deep into her mountain heritage, with her most recent set earning her a Grammy for Best Bluegrass Album.

Dwight Yoakam

Dwight Yoakam

Extraordinarily talented and unfailingly artistic, Dwight Yoakam remains one of the most significant country artists from the new traditionalist movement, though his traditionalism has always had a West Coast flair that was more Owens than Haggard.   Never that much of a radio favorite, Yoakam still managed to sell millions of records, being one of the few legitimate album artists of his time.   His most recent work, 3 Pears, made more year-end critics lists than any other country album in 2012.

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Trisha Yearwood

The only artist on this list who could never be described as a traditionalist, Trisha Yearwood has earned her place in the Hall of Fame through making more consistently excellent music over a longer period of time than any of her contemporaries.   She’s sold a ton of records and had more than her fair share of radio hits and industry awards, but her ultimate legacy will be having the best set of pipes and the best taste in songs, a combination that many artists – female and male – have never managed to pull off nearly as well as Yearwood has over the years.  That’s what having the voice of a Ronstadt and the song sense of a Harris will do for you.

The Veterans Era:

Hank Williams Jr

Hank Williams, Jr.

By a wide margin, Hank Jr. is the most commercially successful artist of the Veterans Era who is not yet in the Hall of Fame.  His noxious public statements in recent years have reinforced a notion that he’s little more than a Southern rock caricature, but his legacy is greater than Monday Night Football and regional xenophobia. At his peak, he made some of the most significant country rock that’s ever been made, crafting himself a distinguished place in country music history that is wholly separate from his legendary father.  In fact, there’s a better chance right now that a bar in America is singing along with “Family Tradition” than anything from his daddy’s catalog.

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Charlie Rich

An artist who was always years ahead of his time, he had a remarkable run of commercial success in the seventies, a period where the times finally caught up to him for a brief spell.  His bluesy style was embraced by the pop scene for a time, with his hit “The Most Beautiful Girl” being one of those rare country hits that also topped the Hot 100.   A veteran of the Sun Records label that produced Hall of Famers like Johnny Cash and Elvis Presley, Rich made the transition to Nashville while always keeping one foot grounded back in Memphis.

Jerry Reed

Jerry Reed

He was one of the most iconic stars of his time, thanks to his witty novelty records, stunning guitar prowess, and extensive appearances on film.  His songwriting success arrived earlier than his recording stardom, but once he got rolling, he was scoring million-selling hits that ran up the country and the pop charts.  He’s one of the few legends left that were truly unique and distinctive personalities who haven’t yet been inducted into the Hall of Fame.

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Tanya Tucker

She’s still three years away from eligibility in this category, with 2017 being the first year she can claim 45 years on the scene.  But while the competition is fierce for those Modern Era slots, Tucker should be voted in the first year she’s eligible as a veteran.  Her haunting, gothic early records are still revelatory, and in the years that followed, her gravely voice brought grit and soul to a long string of country hits.  She was able to remain a force to be reckoned with in the first half of the nineties, a remarkable holdover from the early seventies in an era that had wiped away even the stars of the late eighties to make room for the next big things.

Jim Ed Brown

Jim Ed Brown

Another legend that remained relevant over many different eras of country music, Jim Ed Brown’s immortality on record had already been guaranteed in 1959, when his family group the Browns recorded “The Three Bells.”  That classic hit topped the country and pop charts for many weeks, and the Browns kept going through most of the sixties, joining the cast of the Grand Ole Opry a few years before disbanding.  Brown went on to a successful solo career with classics like “Pop a Top” and “Morning” reaching the top five.  Then he teamed with Helen Cornelius and had his biggest hits since his days with the Browns, most notably “I Don’t Want to Have to Marry You.”  At age eighty, he remains a force on the Opry and as a radio host, making him one of the longest-running personalities that the genre has ever seen.

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CU's Top Albums of 2012

As reflected by the title of our web site, our choices for Top 40 Albums of 2012 span the farthest reaches of the country music universe.  In previous years, the Country Universe staff has counted down twenty albums and forty singles, but this year our album picks included such a wide variety that we were able to stretch our Top Albums countdown to a full forty slots.  What did we miss?  That’s where you, our readers, come in.  Please join in the discussion, and share which albums you had in heavy rotation over the past year.

 

#40
The Garden of Love – Songs of William Blake

Martha Redbone Roots Project

Individual rankings:  Sam – #12

The combination of a modern soul singer, an 18th-century Romantic poet and bluegrass music shouldn’t work, at least on paper.  However, when there are talented people like Martha Redbone and John McEuen of the Nitty Gritty Dirt Band involved, the results can be fantastic.  Redbone and collaborator Aaron Whitby drew from the works of William Blake and McEuen and a host of talented musicians helped recast the poems as bluegrass songs.  The resulting songs sound more like Harlan County than Blake’s native London, and Redbone’s vocals are gorgeous throughout.  For music lovers, discovering hidden gems like this album is the equivalent of finding a winning lottery ticket on the street. - Sam Gazdziak

Top Tracks:  “I Rose Up at the Dawn of Day,” “The Garden of Love,” “Sleep Sleep Beauty Bright”

#39
Morning Comes
 
Cuff the Duke

Individual rankings:  Sam #11

A 2011 release in Canada, this batch of jangly-rock goodness finally made it over to the U.S. this year.  Cuff the Duke shares some similarities with fellow Canadian alt-country stalwarts Blue Rodeo, so it should come as no surprise that Greg Keelor of Blue Rodeo produced the album.  There are bits and pieces of other bands here and there – harmonies like The Jayhawks, a near-eight minute guitar-heavy epic that could have come from a Sadies album – but singer Wayne Petti and his cohorts combined all the elements into one of the band’s best albums. - Sam Gazdziak

Top Tracks:  “Count on Me,” “Time Is Right,” “Bound to Your Own Vices”

#38
New Wild Everywhere

Great Lake Swimmers

Individual rankings:  Sam – #9

Great Lake Swimmers has evolved from a largely one-man project recording albums in an abandoned grain silo to a full-fledged folk group recording in a studio.  Tony Dekker’s songs have a lovely, ethereal quality to them, and they lose nothing from being backed with a full ensemble of violins, banjos, and the occasional fluegelhorn or accordion.  “Easy Come Easy Go” was the band’s first charting single in its native Canada, but with songs like the sweeping title track, there should be many more to come. - Sam Gazdziak

Top Tracks:  “New Wild Everywhere,” “Think That You Might Be Wrong,” “The Knife”

#37
That’s Just Me
Teea Goans

Individual rankings:  Ben – #8

With a rich, emotive vocal style that echoes Pam Tillis, traditionalist Teea Goans nimbly tackles a collection of killer country tunes from the past and present alike.  She lovingly covers classic hits of yore such as “Misty Blue” and “Nobody Wins” alongside solid originals such as the lively “Pour a Little Love On It” and the luscious Jamie Daley duet “That’s Just Me Loving You.”  Nothing over-the-top – simply a collection of quality material well-written, thoughtfully produced, and sung with flair.  What more could a country music lover ask for? - Ben Foster

Top Tracks:  “Pour a Little Love On It, “Misty Blue,” “That’s Just Me Loving You”

#36
Fear Fun
Father John Misty

Individual rankings:  Jonathan – #7

Singer-songwriter Joshua Tillman’s first solo outing since leaving indie-rock outfit Fleet Foxes and his first album under the moniker of Father John Misty, Fear Fun is a throwback to the late 90s era before “alt-country” turned into Americana.  To that end, the album’s title is misleading:  What makes the album so refreshing is its sense of irreverence – Tillman’s refusal to take himself too seriously. - Jonathan Keefe

Top Tracks:  “I’m Writing a Novel,” “Only Son of the Ladies’ Man,” “Nancy from Now On”

#35
Voice of Ages

The Chieftains

Individual rankings:  Sam – #7

To celebrate the band’s 50th anniversary, The Chieftains team up with notables from the indie/folk/Americana sector, including the Pistol Annies, The Decemberists and The Carolina Chocolate Drops. The result is a bouncy, high-energy set that shows that Paddy Moloney and company have plenty of fuel left in the tank. - Sam Gazdziak

Top Tracks:  “Lily Love” (with The Civil Wars), “School Days Over” (with The Low Anthem), “When the Ship Comes In” (with The Decemberists)

#34
Restless
Sweethearts of the Rodeo

Individual rankings:  Leeann – #7

It’s hard to believe that it’s been sixteen years between albums for Sweethearts of the Rodeo.  Their late 2012 release Restless will go largely unnoticed by commercial standards, but not because it doesn’t deserve high praise and recognition. A mix of a throwback to the country sounds of their heyday, and sounding like an extension of 1996′s Beautiful Lies, Restless manages to feel both nostalgic and refreshing, not to mention that the sister duo sounds as good as ever. - Leeann Ward

Top Tracks: “You Can’t Hold Me Back,” “Restless,” “Hopeless Rose”

#33
Home
Dierks Bentley

Individual rankings:  Leeann – #11;  Sam #20

Amidst the bravado party anthems and the tongue-in-cheek, Dierks Bentley continues to display his penchant for performing heartfelt love songs and thoughtful reflections. His signature ragged voice comfortably wraps around songs like the reflective “Home” and sensitive “Thinking of You” with ease and sensitivity. Likewise, he sounds just as comfortable letting loose on frivolities such as “Diamonds Make Babies” and “Gonna Die Young.” - Leeann Ward

Top Tracks:  “Home,” “When You Gonna Come Around,” “Thinking of You”

#32
Derelict
John Kraus and the Goers

Individual rankings:  Sam – #5

When he’s

not playing guitar and banjo for the excellent Los Angeles-based bluegrass/Celtic/rock band Rose’s Pawn Shop, Capt. John Kraus sails tall ships. When he’s not doing that, he’s combining his passions by recording an album of sea shanties. Half the songs are traditional sailing songs, and half are new, though it’s hard to tell them apart without looking through the liner notes. The old songs have been given fresh, contemporary arrangements, and the new songs are so spot-on that it’s easy to picture sailers from the 1700s or 1800s singing them. - Sam Gazdziak

Top Tracks:  “Cold in the Ocean,” “Bonny Ship the Diamond,” “Siren”

avett brothers carpenter

#31
The Carpenter

The Avett Brothers

Individual rankings:  Sam – #4

The Carpenter is about as close as you can get to mixing the major-label polish found on the Avetts’s 2009 release I and Love and You, and the reckless abandon found on their independent releases. The Carpenter is again produced by Rick Rubin, but Scott Avett’s banjo returns to prominence, and there is another addition to the “Pretty Girl from…” series (Michigan, in this case). Catchy, sweet songs like “Live and Die” should give the Avetts the same kind of mainstream crossover success like rootsy brethren The Lumineers and Mumford & Sons have enjoyed. - Sam Gazdziak

Top Tracks:  “The Once and Future Carpenter,” “Live and Die,” “A Father’s First Spring”

#30
Unfinished Business
Wanda Jackson

Individual rankings:  Ben – #10;  Jonathan – #15

On 2011′s The Party Ain’t Over, Wanda Jackson too often found herself overshadowed by producer Jack White’s impressive, if show-offy, blend of rockabilly and modern blues. Justin Townes Earle, in producing Unfinished Business, wisely keeps the focus on Jackson, whose feistiness and inimitable presence on record are undiminished by her 60-plus years as a recording artist. - Jonathan Keefe

Top Tracks:  “Tore Down,” “Am I Even a Memory,” “California Stars”

#29
Nashville, Volume 1:  Tear the Woodpile Down
Marty Stuart

Individual rankings:  Sam – #6;  Ben – #19

Featuring a raucous roadhouse jam one moment (“Tear the Woodpile Down,” “Truck Driver’s Blue”), and a straight-up steel weeper the next (“A Matter of Time,” “The Lonely Kind”), Nashville, Volume 1 offers an entertaining fusion of country music past and present from one the genre’s most staunch advocates of tradition.  A solid set of songs along with some unexpected collaboration (Hank Williams III, Buck Trent, Lorrie Carter Bennett) ensure that there is never a dull moment.  - Ben Foster

Top Tracks:  “A Matter of Time,” “Truck Driver’s Blues,” “Picture from Life’s Other Side”

#28
Original Soundtrack:  The Hunger Games –  Songs from District 12 and Beyond
Various Artists

Individual rankings:  Dan – #8;  Jonathan – #11

A truly weird effort: bleak, rootsy…and tied to a blockbuster movie based on a Young Adult novel. How do you wind up with that combo? Well, get T-Bone Burnett on the job. In truth, Burnett’s vision captures the tone of Suzanne Collins’s tense, disturbing death-match better than the serviceable film does, with songs that explore the heroine’s psyche in complement to the way Collins’s first-person narrative did. - Dan Milliken

Top Tracks: “Abraham’s Daughter,” “Nothing to Remember,” “Just a Game”

#27
Hello Cruel World
Gretchen Peters

Ben – #5;  Jonathan – #16

Dense, poetic, and uninhibited, modern songwriting legend Gretchen Peters turns her inner emotions outward on this deeply absorbing set, ripe with clever yet accessible metaphors (“St. Francis,” “Paradise Found,” “Natural Disaster”) and intriguing character sketches (“Camille,” “Five Minutes”).  Her songwriting chops are formidable enough, but she also brings the goods as a singer with lived-in performances that are layered, expressive, and authoritative. - Ben Foster

Top Tracks:  “Hello Cruel World,” “St. Francis,” “Five Minutes”

#26
Mindy Smith
Mindy Smith

Leeann – #6;  Dan – #10

Five albums into her career, Mindy Smith revisits the organic feel of her first album, which, thankfully, mostly abandons the pop trappings of her previous project.  This isn’t to say that she has lost any sense of creativity.  In fact, the album hosts a diverse mix of  straight-up country, alt-country, gentle jazz, and soft acoustic songs.  As a result, her stellar self-titled album proves quite worthy of her immense talent.  Three songs are specifically recommended here, but the album as a whole is worth recommendation. - Leeann Ward

Top Tracks:  “Take Me Back,” “Everything Here Will Be Fine,” “Cure for Love”

#25
The Time Jumpers
The Time Jumpers

Individual rankings:  Ben – #2;  Leeann – #17

From the warm familiar tenor of Vince Gill to the whine of veteran Paul Franklin’s steel guitar to the Connie Smith-esque vocals of Dawn Sears, it’s a wonder this eleven-piece traditional country outfit even manages to fit so much talent into one room.  On the band’s first proper studio effort, twangy toe-tappers like “On the Outskirts of Town” and “Texas On a Saturday Night” will make you want to get up and dance, but ballads such as the sorrowful “So Far Apart” and the introspective “Three Sides to Every Story” demonstrate that there’s plenty of substance to go along with all the fun.  Simply delightful. - Ben Foster

Top Tracks:  “Texas On a Saturday Night,” “On the Outskirts of Town,” “Three Sides to Every Story”

#24
And So It Goes
Don Williams

Individual rankings:  Kevin – #10;  Ben – #11;  Dan – #16

Seemingly the very personification of country sincerity, Hall of Fame member Don Williams ably sells material that might scan as maudlin if delivered by a vocalist lacking his restraint and age-earned wisdom.  Williams delivers songs of love and heartache with a recurring theme of optimism on his first studio outing since 2004, with songs like “Better Than Today,” “She’s With Me,” and “Imagine That” seeming like could’ve-been classic hits had they been released a few decades earlier.  A pairing with the exquisite vocals of Alison Krauss on “I Just Come Here for the Music” supplies what is arguably the album’s finest moment. - Ben Foster

Top Tracks:  “She’s With Me,” “I Just Come Here for the Music,” “Imagine That”

#23
Carry Me Back
Old Crow Medicine Show

Individual rankings:  Jonathan – #6;  Dan – #11;  Leeann – #20

A significant rebound from the dreary Tennessee PusherCarry Me Back finds Old Crow Medicine Show delving further into their old-timey stringband persona while still retaining a contemporary, relevant point-of-view. Taking a light-handed but still perceptive approach to matters of war and economic hardship but also cutting loose for a bit of pure escapism every now and then, OCMS prove that they’re not just a band who thought they’d dress like bootleggers and pick up a banjo to mask the fact that they don’t have anything more substantive to say. - Jonathan Keefe

Top Tracks:  “Carry Me Back to Virginia,” “Levi”

#22
Agnostic Hymns & Stoner Fables
Todd Snider

Individual rankings:  Jonathan – #3;   Dan – #9

It’s his most quintessentially Todd Snider-ish album title yet, and in some ways, it does feel like his signature piece: loopy-sharp commentary on religion and socioeconomic issues, down-on-their-luck protagonists with hearts of gold or darkness or both. It’s impossible to always agree with Snider the man or even Snider the fable-teller, probably; he puts it all out there so brazenly, with such bold detail, that some of it is bound to repel. But as country-folk troubadours go, there’s hardly a finer craftsman. - Dan Milliken

Top Tracks: “New York Banker,” “In Between Jobs,” “Brenda”

#21
I Like to Keep Myself In Pain
Kelly Hogan

Individual rankings:  Jonathan – #2;  Dan – #6

Armed with a voice of extraordinary power and versatility and, perhaps more importantly, with a better ear for quality material than just about anyone recording in any genre, Kelly Hogan is simply one of the finest interpretive singers in contemporary music.  On I Like to Keep Myself in Pain, she tackles heady, complicated songs that hinge on deep emotional conflicts and surprising narrative turns, and she wraps those songs into a take on country music that’s both quirky and genuinely progressive. - Jonathan Keefe

Top Tracks:  “Plant White Roses,” “Haunted,” “I Like to Keep Myself in Pain”

#20
AM Country Heaven
Jason Eady

Individual rankings:  Leeann – #5;  Dan – #12;  Ben – #12

Good, pure country music is not dead! The solid proof is in AM Country Heaven. With fiddle, steel guitar, bass and honky tonk piano aplenty, this album is unadulterated country music that maintains the perfect balance of classic and freshness. Just like any good country album, the songs and melodies are memorable without being covered with a sickening shine, but rather, allowing each song and vocal to stand on its own with the support of tasteful instrumentation that works together to enrich the listening experience. - Leeann Ward

Top Tracks:  “Tomorrow Morning,” “Man on a Mountain” (with Patty Loveless), “Lying to Myself”

#19
Edens Edge
Edens Edge

Individual rankings:  Tara – #6;  Kevin – #9;  Dan – #14

Edens Edge teased us with “Amen” in 2011, an adorably written gem with the kind of spirit that’s been missing from country radio since the 90s.  The trio’s debut album is equally charming, built on strong storylines and engaging performances.  Perhaps most impressively, they understand the power of a full-bodied melody, skillfully using its dips, crescendos, and color to convey a range of emotions. - Tara Seetharam

Top Tracks:  “Amen,” “Feels So Real,” “Swingin’ Door”

#18
Sun Midnight Sun
Sara Watkins

Individual rankings:  Dan – #2;  Jonathan – #17;  Leeann – #18

It’s fitting that the cover features Watkins posed like some kind of dark angel, or maybe an ancient Egyptian goddess, big yellow star-glow encircling her head. After a promising debut, Sun Midnight Sun is her moment of almighty ascension as a solo artist, a helping of fiddly folk-pop that is accessible but smart, cute but cutting, steady but adventurous. She duets with Fiona Apple on “You’re the One I Love”; she covers Willie Nelson on “I’m a Memory”; and on the timeless “Take Up Your Spade,” she suggests she might be able to hang with either as a songwriter. - Dan Milliken

Top Tracks: “When It Pleases You,” “I’m a Memory,” “Take Up Your Spade”

#17
Bear Creek
Brandi Carlile

Individual rankings:  Leeann – #2;  Dan – #3

While Brandi Carlile may not particularly consider herself a country artist, it’s obvious that she can aptly play the part when she has a mind to. Not only did she write “Same Old You,” one of the best and most country songs on Miranda Lambert’s latest album, but Carlile turns in a sturdy album with strong country elements in the heart of its songs. From the first addictive riff of “Hard Way Home” to the straight-up twang of “Keep Your Heart Young” to the final notes of the ethereal “Just Kids” and all points in between, Bear Creek is a powerfully sensational experience. - Leeann Ward

Top Tracks:  “Hard Way Home,” “Keep Your Heart Young,” “Heart’s Content”

#16
Cabin Fever
Corb Lund

Individual rankings:  Sam – #1;  Jonathan – #4

Songs about gravediggers, cowboys, killers, cows and goth chicks? Must be a Corb Lund album. Lund has never been a predictable songwriter, and the songs on his latest album are no exception. “Pour ‘em Kinda Strong” and “Dig Gravedigger Dig” are more outlaw than any wannabe with a ballcap and a wallet chain can hope to sing. “September” and “One Left in the Chamber” display Lund’s chops as a serious songwriter. And for those who favor the bizarre, there’s “The Gothest Girl I Can” and “Cows Around.” They’re all good, and Lund is one of the few who can combine them all into one cohesive, excellent album. - Sam Gazdziak

Top Tracks:  Dig Gravedigger Dig,” “One Left in the Chamber,” “Bible on the Dash” (with Hayes Carll)

#15
Leaving Eden

Carolina Chocolate Drops

Individual rankings:  Sam – #2;  Leeann – #10;  Dan – #15

The Carolina Chocolate Drops are so steeped in tradition that it’s hard to fathom how they can sound so classic and modern all at once.  Listening to them, it’s easy to think that it’s all effortless, but the fact is that they’ve trained extensively and know just what they’re doing as a result.  Leaving Eden is an extension of Genuine Negro Jig inasmuch as it ingeniously incorporates commonly utilized instruments with the not-so-common.  In addition to traditional fiddle, cello, and banjo, you can also hear bones, jugs and quills, along with impressive beat-boxing.  Above the impressive, warm and crisp instruments, however, are the wildly soulful vocals of Rhiannon Giddens, particularly on the a cappella “Pretty Bird” and the slow-burning title track.  Moreover, the Chocolate Drops’ energy and passion for what they’re doing is what we are ultimately hearing in this generous offering of energetic and thoughtful string-band music. - Leeann Ward

Top Tracks:  “West End Blues,” “Leaving Eden,” “Pretty Bird”

#14
For the Good Times
The Little Willies

Individual rankings:  Kevin – #4;  Jonathan – #12;  Leeann – #13;  Ben – #20

By recasting classic country songs into a jazz house style, the Little Willies prove a powerful truth that genre aficionados have known all along.  The songwriters showcased on For the Good Times – Willie Nelson, Dolly Parton, Lefty Frizzell, Kris Kristofferson, Loretta Lynn, Ralph Stanley, Scotty Wiseman – are craftsmen and craftswomen that rival and often topple the legendary writers of Tin Pan Alley and the Brill Building. - Kevin John Coyne

Top Tracks:  “Remember Me,” “Permanently Lonely,” “Jolene”

#13
Tornado
Little Big Town

Individual rankings:  Tara – #2;  Jonathan – #5;  Ben – #17

On its fifth album, Little Big Town isn’t interested in making a foot-stamping creative statement.  Instead, the group dives into a diverse but thoughtful stylistic grab bag, from the backwoods swamp of “Front Porch Thing” to the shameless accessibility of “On Fire Tonight” to the celestial lullaby of “Night Owl.”  With its shifting spotlight, Tornado reminds us that all four vocalists are skilled in their own right, but never strays too far from the quartet’s defining harmonies, underscored by the album’s a cappella pockets.  While “Pontoon” may be the album’s claim to fame, its signature is “Sober,” an exquisite, arms-raised surrender that pierces like no other song in Little Big Town’s catalogue. - Tara Seetharam

Top Tracks:  “Sober,” “Front Porch Thing,” “Leavin’ In Your Eyes”

#12
High, Wide & Handsome
The Trishas

Individual rankings:  Dan – #4;  Kevin – #6; Sam – #7

Miss the Dixie Chicks and getting antsy waiting for the next Pistol Annies installment? Wish either of those groups would do some good, old-fashioned heartbreak and settle down with all that pill-takin’ and Lubbock-hatin’? Say howdy to The Trishas. This fresh-faced quartet fills their first LP with tasty neo-trad of all different flavors, from the hooky shuffles of “Mother of Invention” and “Strangers” to the lounge-in-Texas aesthetic of “Cold Blooded Love” and “Rainin’ Inside.” But the common theme is love gone bad, and they do it oh so good. It helps that they’ve got Natalie Hemby, Jason Eady and Turnpike Troubadour Evan Felker writing with them. But the knockout punch is their harmonies, which call to mind what a “Cool Younger Daughters of the Pioneers” group might have sounded like. - Dan Milliken

Top Tracks: “Mother of Invention,” “Little Sweet Cigars,” “Liars & Fools”

#11
Blown Away

Carrie Underwood 

Individual rankings:  Kevin – #1;  Tara – #5;  Ben – #16

The hardest-working woman in country music.  She could’ve coasted on the material of others, but she’s put the work in to develop into a great songwriter in her own right, with a distinctive point of view that is becoming just as essential to her artistry as those powerful pipes that made her a star in the first place.  She’s said that “Blown Away,” one of the few songs she didn’t write, set the tone for the album.  What a blessed discovery that song was then, as it challenged Underwood to be bolder than she ever dared before.  She consistently sings about and writes about strong women who refuse to be defined by their relationships with men and who ultimately triumph over the ones who compromise their physical or emotional well-being.  “Good Girl” might be the most obvious cautionary tale to the young girls that make up a good chunk of her audience, but here’s hoping they also hear her calls to reject the media’s narrow definitions of beauty (“Nobody Ever Told You”) and the judgment-free reminiscence of first-time love on “Do You Think About Me.”  Leave it to Carrie Underwood to kill off two men and still preserve her distinctive position as country music’s best role model. - Kevin John Coyne

Top Tracks:  “Blown Away,” “Do You Think About Me,” “See You Again”

#10
Up All Night
Kip Moore

Individual rankings:  Kevin – #3;  Dan – #5;  Tara – #7

Kip Moore is blatantly derivative, über-conventional, and possibly the best thing to happen to FM country in 2012. (Well, aside from that other K.M. sitting atop our singles list.) How’s that work, now? He makes the old feel new again. The magic is two-pronged: first, an excellent tune-sense that fortifies even staid phrases and ideas with infectious melodic power; and second, a sandy-sweet rasp, effortlessly sexy and tender and…well, those are pretty much his two modes so far. But he makes ‘em work like few singers can, resulting in a set of songs that often sound the same, but all in a rather likable way. More risks in songwriting and production could take him to the next level, but even now, he’s the Springsteen tribute we never knew we wanted. Dan Milliken

Top Tracks: “Beer Money,” “Where You Are Tonight,” “Hey Pretty Girl”

 

#9
Long Ride Home
Darrell Scott

Individual rankings:  Kevin – #2;  Leeann – #7;  Dan – #7

It’s naïve to suggest that there are many quick fixes to the mind-boggling banality of contemporary country music.  But pitching the Darrell Scott songbook around town is one of them.  A great songwriter can elevate an entire genre when given the chance, like Kris Kristofferson did in the late sixties and early seventies, and Matraca Berg did in the mid-nineties.  Scott’s latest set is as strong a collection of songs as I’ve heard in the past few years.  His delivery is rough but authentic. We write so often about the great singers we wish could just record better material.  Imagine Blake Shelton singing, “When first I took the ring off, I was surprised to see another ring just underneath, as white as snow can be.”  Or perhaps Sugarland’s Jennifer Nettles singing, “I am grounded, oh but I have wings to fly.  I don’t use them, I just look up in the sky.”  Or perhaps some unknown, third-string act just waiting for their chance to prove themselves, walking into a studio armed with a set of songs stronger than anything being pushed by the Music Row publishing houses or our generally overrated “singer-songwriters” on the radio.  Fingers crossed. - Kevin John Coyne

Top Tracks:  “Someday,” “Too Close to Comfort,” “No Love In Arkansas (The Ring)”

#8
Uncaged
Zac Brown Band

Individual rankings:  Jonathan – #8;  Tara – #9;  Leeann – #12;  Ben – #15;  Sam – #19

Having secured their spot on the genre’s A-list, Zac Brown Band used their third studio album, Uncaged, as an opportunity to see what they could really get away with.  Even beyond its just spectacular cover art, Uncaged finds the band tackling styles from contemporary bluegrass to Jimmy Buffett-inspired isle rock to campy Quiet Storm soul balladry, all without losing their distinct identity or straying too far from their genuinely good-natured aesthetic.  In the process, they prove that it’s possible to sound authentically “Southern” (if not always “country”) without ever relying on the cheapest, emptiest of signifiers. - Jonathan Keefe

Top Tracks:  “Goodbye in Her Eyes,” “Sweet Annie,” “The Wind”

#7
KIN:  Songs By Mary Karr & Rodney Crowell
Various Artists

Individual rankings:  Leeann – #1;  Ben – #4;  Kevin – #7

As the story goes, Rodney Crowell mentioned poet Mary Karr in his song “Earthbound” on the album Fate’s Right Hand.  After reading her book The Liars’ Club, he had an inkling that Karr might possess the heart of a songwriter – and it turns out that his premonition was right on.  Due to their similar backgrounds, which consisted of hard-scrabble living, they were able to relate in a way that pushed them to create one of the most intriguing albums of the year.  While Karr isn’t a singer, Crowell certainly is.  However, with the exception of four excellent songs on which Crowell sings, they opted to enlist a brilliant cast of known artists to play the roles found within their songs.  Not only do these guest artists play the parts perfectly; in some cases, they even turn in performances that are among their best recordings. - Leeann Ward

Top Tracks:  “Momma’s on a Roll” (Lee Ann Womack), “My Father’s Advice” (Rodney Crowell/Kris Kristofferson), “Just Pleasing You” (Vince Gill)

#6
100 Proof
Kellie Pickler

Individual rankings:  Tara – #4;  Ben – #7;  Leeann – #15;  Jonathan – #18

Gone is the glitzy, polished pop-country princess from the American Idol stage. In her place is a poised, sincere interpretive vocalist with a palpable love for traditional country music, as well as a gifted songwriter with a willingness to get personal.  With “Where’s Tammy Wynette” and “Stop Cheatin’ On Me,” Pickler nods to the classic country passed on to her by her grandparents, while addressing her troubled past with “Mother’s Day” and “The Letter (To Daddy),” and channeling her present-day marital contentment with the title track and the broadly charming “Rockaway (The Rockin’ Chair Song).”  With the artistic leaps evident on this project, Kellie Pickler finally comes into her own as an artistic force, while hinting that the best is yet to come. - Ben Foster

 Top Tracks:  “Where’s Tammy Wynette,” “Long As I Never See You Again,” “Mother’s Day”

#5
Thirty Miles West
Alan Jackson

Individual rankings:  Tara – #4;  Kevin – #5;  Ben – #14;  Leeann – #19;  Jonathan – #19

Thirty Miles West is just another solid Alan Jackson album – and there’s nothing wrong with that.  At 54 years old, Jackson is still the most effortless every-man in country music, able to tap into the foundation of human emotion with breezy precision.  From his astute perspective in “So You Don’t Have To Love Me Anymore” to his delightful open-mindedness in “Her Life’s a Song,” Jackson makes honest, relatable storytelling look easy.  Amidst the shuffle of mainstream country artists struggling to do the same, Jackson, thankfully, remains the trusted friend we can turn to when we need to be understood. - Tara Seetharam

Top Tracks:  “So You Don’t Have to Love Me Anymore,” “Her Life’s a Song,” “You Go Your Way”

#4
Wreck & Ruin
Kasey Chambers & Shane Nicholson

Individual rankings:  Sam – #3;  Leeann – #9;  Ben – #9;  Tara – #10;  Jonathan – #10

Singers/songwriters/spouses Chambers and Nicholson set a pretty high standard for duet albums with 2008′s Rattlin’ Bones, but Wreck & Ruin more than lives up to its predecessor. Backed by fiddles and banjos galore, their voices blend beautifully, from the whimsical “Flat Nail Joe” to the tender “The Quiet Life.” Too many “event duets” (Jason/Kelly, Brad/Carrie) turn into a vocal competition, as the two singers try their best to outshout each other. Wreck & Ruin is a much more low-key affair, but it demonstrates the subtle beauty of a man and woman singing together. - Sam Gazdziak

Top Tracks:  “Adam and Eve,” “The Quiet Life,” “Familiar Strangers”

#3
Calling Me Home
Kathy Mattea

Individual rankings:  Ben – #1;  Leeann – #4;  Kevin – #8;  Tara – #8;  Jonathan – #13

Kathy Mattea may be the one standing behind the microphone, but she allows her home state of West Virginia to be the star of this stellar roots project.  Through deeply heartfelt vocal renderings backed by gorgeous Appalachian instrumentation, Mattea allows us to feel the heartbreak of the bereaved household in “West Virginia Mine Disaster,” as well as the frustration of a rural dweller watching his land overrun by “Black Waters,” even causing us to empathize with entities as simple as a wood thrush and a maple tree.  By turning to her own roots for inspiration, Kathy Mattea creates a career-best album that absolutely soars from beginning to end. - Ben Foster

Top Tracks:  “West Virginia Mine Disaster,” “The Maple’s Lament,” “Black Waters,” “Now Is the Cool of the Day”


#2
Sing the Delta
Iris DeMent

Individual rankings:  Dan – #1;  Jonathan – #1;   Leeann – #3;  Ben – #6

She sings of the vital importance of “telling [her] truth” on a heartfelt tribute to her mother that’s tucked away near the end of Sing the Delta, and Iris DeMent spends the duration of her extraordinary fifth album doing precisely that. She structures her songs like traditional Southern gospel hymns, but DeMent isn’t one to adhere blindly to conventions, as she weaves intimate autobiographical details into songs of profound personal and spiritual questioning and insight. Sing the Delta captures, in DeMent’s wondrously plain-spoken way, how faith and love, whatever their forms, are the most rewarding of struggles. It’s the gospel according to Iris, and it should be shouted from the rooftops. - Jonathan Keefe

Top Tracks:  “Mama Was Always Telling Her Truth,” “The Night I Learned How Not to Pray,” “There’s a Whole Lotta Heaven,” “Out of the Fire”

#1
Living for a Song – A Tribute to Hank Cochran
Jamey Johnson

Individual rankings:  Tara – #1;  Ben – #3;  Leeann – #8;  Jonathan – #9;  Sam – #10

Since he quietly rose to fame in 2008 with “In Color,” Jamey Johnson has played the part of our dependable, unbending 21st-century outlaw – sometimes to a fault.  His brand has often felt airtight, his expressiveness always one step behind his authenticity.  Living for a Song, then, does something momentous:  It deconstructs Johnson’s persona and paints him in a sweeter, more accessible light.

Maybe it’s the late Hank Cochran’s exceptional touch: graceful, disarming and frank all at once.  Maybe it’s the pairing of Johnson with a stellar cross-generational cast of characters, who deliver the 16 songs with zest and reverence.  Or maybe it’s simply Johnson’s surprising versatility, drawn from his genuine, careful appreciation of his former mentor.

Does it matter?  The sum of these parts isn’t just an album that pumps depth into one of our generation’s definitive artists, or that pays tribute to one of our finest composers.  Living for a Song did what we sorely needed something to do in 2012:  It took us back to the basics of country music – simple, straightforward and, at its best, achingly vulnerable. - Tara Seetharam

Top Tracks:  “Make the World Go Away,” “This Ain’t My First Rodeo,” “She’ll Be Back”

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Album Review: Wanda Jackson, <i>Unfinished Business</i>

Wanda Jackson
Unfinished Business

The original rockabilly queen returns with a vengeance on her sassy, spirited new album Unfinished Business, following up last year’s solid Jack White-produced comeback set The Party Ain’t Over.  This time around, Jackson swaps out White for Americana star Justin Townes Earle as producer as she takes on another set of classic cover tunes mixed with some newer material.

Unfinished Business draws material from a variety of

genre wells spanning classic country, blues, R&B, and rock and roll.  The album kicks off with a bang as Jackson tears into a rollicking rendition of Sonny Thompson’s “Tore Down.”  Kenny Vaughan injects a searing guitar riff into the tune that serves as a perfect match to the raw energy and grit of Jackson’s performance.  Certain choices might not fare well in comparison to previous renditions - We’ve heard superior versions of “Old Weakness (Comin’ On Strong)” by Patty Loveless and Tanya Tucker, while Jackson’s take on Bobby and Shirley Womack’s “It’s All Over Now” sounds surprisingly tame.  But even at their weakest, Jackson’s versions are always enjoyable for what they are, and there are no real duds in the bunch.

Jackson nods to her country roots with the sweet pedal steel-laden ballad “Am I Even a Memory,” a duet with Earle, as well as the aching “What Do You Do When You’re Lonesome” – a fine country shuffle if ever there was one.  But it’s not an entirely gloomy affair, as Jackson balances out the melancholy material with upbeat fare such as the Townes Van Zandt gospel rave-up “Two Hands,” which she sells with infectious joy.  Though Jackson’s vocal power may have deteriorated, her natural spunk and sense of presence more than make up for it, as toe-tappers such as “The Graveyard Shift” and Etta James’ “Pushover” show that Jackson can still belt and growl with the best of them.  The album closes with a beautiful rendition of Woody Guthrie’s “California Stars,” featuring some lovely steel guitar work by Paul Niehaus.

Considering Wanda Jackson’s musical style has long drawn from an amalgam of influences, it’s fitting that she here draws from such an eclectic selection of material.  What’s particularly impressive is that she is able to take songs from different genre origins, and make them sound like they belong together, blended by the unique flair of her performances.  Similarly, Earle’s production approach borrows elements from varying genre influences, and brings them over to traditional Wanda Jackson territory, creating an album that sounds diverse without sounding disjointed.

Indeed, though Unfinished Business pays tribute to Etta James, Sonny Thompson, Bobby Womack, and Woody Guthrie, among others, the star of the show is Jackson.  It’s not so much a country album, a rock album, or a blues album as it is simply a Wanda Jackson album – a fun, entertaining collection that serves as a testament to the enduring legacy of the talented rockabilly legend.  Her place in music history may already be secure, but as hinted at by the album’s title, Wanda Jackson is clearly not resting on her laurels.

Top Tracks:  “Tore Down,” “Pushover,” “California Stars”

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100 Greatest Men: #55. Roy Clark

100 Greatest Men: The Complete List

Thanks to a long-running syndicated television show, well-rounded entertainer Roy Clark was one of the most familiar country music personalities for more than two decades.

He grew up along the eastern coast of America, born in Virginia and living in both Staten Island, New York and Washington D.C.  Even in his youth, he refused to limit himself, pursuing boxing and baseball as passionately as the banjo.   Still, by age 17 he had performed on the Grand Ole Opry.   His stellar musicianship scored him a spot backing Jimmy Dean, and he made several appearances on Dean's D.C. television show.

After further stints backing Hank Penny and Wanda Jackson, his solo career took of in the sixties.  Though he was never a consistent hitmaker, he did record two signature songs during this decade: “The Tips of My Fingers” for Capitol in 1963, and “Yesterday, When I Was Young” in 1969.  He was better known for his appearances on variety shows and sitcoms like the Beverly Hillbillies.

His true legendary status came when he signed on as co-host of Hee Haw, the country knock-off of the very popular Laugh In.   The show was a ratings smash when it debuted in 1969, and after switching to syndication in 1971, it would remain a television staple until 1992.   Clark's combination of musicianship and humor made him an icon for the genre during an era where it still received  limited exposure on television.

The show's early run raised his profile on the radio as well, and he scored seven top ten hits between 1970 and 1976, including his only #1 single, “Come Live With Me.”   After winning the CMA award for Comedian in 1970, he was named the Entertainer of the Year in 1973.   With the advent of cable television, Clark received further exposure on televised episodes of the Grand Ole Opry, which finally made him a member in 1987.   He also helped establish Branson, Missouri as a mecca for country legends, opening his own theater there in 1983.

Clark was inducted into the Country Music Hall of Fame in 2009.

Essential Singles:

  • Tips of My Fingers, 1963
  • Yesterday, When I was Young, 1969
  • I Never Picked Cotton, 1970
  • Thank God and Greyhound, 1970
  • Come Live With Me, 1973
  • If I Had to Do it All Over Again, 1976

Essential Albums:

  • The Lightning Fingers of Roy Clark, 1962
  • Yesterday, When I was Young, 1969
  • Roy Clark Live!, 1972
  • Roy Clark's Family Album, 1973
  • The Entertainer, 1974
  • Roy Clark in Concert, 1976

Next: #54. Hank Thompson

Previous: #56. Bobby Bare

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

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

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

#30
Revelation Road
Shelby Lynne

Individual Rankings: #5 – Jonathan

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

#29
My Name is Money
Sonia Leigh

Individual Rankings: Ben – #4

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

#28
God Only Knows
Natalie Maines

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

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

#27
Codeine
Jason Isbell & The 400 Unit

Individual Rankings: #3 – Sam

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

#26
Ghost on the Canvas
Glen Campbell

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

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

#25
Bleed Red
Ronnie Dunn

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

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

#24
The Cave
Mumford & Sons

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

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

#23
Here For a Good Time
George Strait

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

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

#22
Thunder on the Mountain
Wanda Jackson

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

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

#21
You Gonna Fly
Keith Urban

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

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

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

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

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Ridiculous Things: Wanda Jackson

Wanda Jackson covering Amy Winehouse’s “You Know I’m No Good.”

Come on, now.

I’m all for staying relevant, and I’m a big fan of Jackson and her seminal rockabilly work. Jack White has proven himself able to help a legendary female country artist return to her roots, thanks to his seminal work with Loretta Lynn.

But this? It’s way too close to parody for my tastes. She’s mimicking Winehouse, not interpreting the song in her own way. It’s way too one-note and gimmicky for an artist of this stature.

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Grammy Flashback: Best Female Country Vocal Performance

Revised and Updated for 2009

While the Grammys have honored country music from the very first ceremony in 1959, they did not begin honoring by gender until 1965, when the country categories were expanded along with the other genre categories.

This is a look back at the Best Female Country Vocal Performance category. It was first awarded in 1965, an included single competing with albums until the Best Country Album category was added in 1995. When an album is nominated, it is in italics, and a single track is in quotation marks.

I’ve often made the case that female artists were making the best music in the 1990s, and the Grammys did a great job nominating songs and albums that were ignored at the CMA and ACM awards, which is not surprising, given that those shows have so few categories that are actually for songs and albums.

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

2009

  • Martina McBride, “For These Times”
  • LeAnn Rimes, “What I Cannot Change”
  • Carrie Underwood, “Last Name”
  • Lee Ann Womack, “Last Call”
  • Trisha Yearwood, “This is Me You’re Talking To”

This year’s lineup includes three former winners and two women looking for their first victory in this category. Martina McBride is in the running for the eighth time in fifteen years, and with one of her more understated performances. Lee Ann Womack returns for a fifth time, having received a nomination for the lead single of her five most recent albums. Both ladies turned in good performances here, but they’ve been overlooked for records bigger and better, so they’re not likely to snap their losing streaks this time around.

As for the previous winners, LeAnn Rimes earned her third consecutive nod, bringing her total to five in this category. She hasn’t won since 1997, when she took home the award for “Blue.” If enough voters hear “What I Cannot Change,” she might have a shot, though the only version of the song that’s been a legitimate hit has been the dance remix.

Trisha Yearwood won in 1998 for “How Do I Live,” her only victory to date. But she’s earned her tenth nomination for “This is Me You’re Talking To,” which is arguably her strongest vocal performance of the ten. Like Rimes, the challenge is getting enough voters to listen to it, but she’s never been more deserving of the victory than she is this year.

Still, the favorite remains Carrie Underwood. She’s quickly become a favorite with Grammy voters, having won this category two years running, along with Best New Artist in 2007. She’s the nominee with the highest profile, and while “Last Name” is nowhere near the same league of “Jesus, Take the Wheel” and “Before He Cheats” in terms of artistry or impact, it was a big hit, something that the other four entries cannot claim.

If Underwood was nominated for “Just a Dream,” she’d have a mortal lock on this one. But the strength of the other nominees will at least keep this race competitive. If Underwood prevails, Grammy queen Alison Krauss better watch her back.

2008

  • Alison Krauss, “Simple Love”
  • Miranda Lambert, “Famous in a Small Town”
  • LeAnn Rimes, “Nothin’ Better to Do”
  • Carrie Underwood, “Before He Cheats”
  • Trisha Yearwood, “Heaven, Heartache and the Power of Love”

Looking at this lineup, you’d think that it was a golden age of female country artists, something akin to the mid-nineties. In reality, only one of these songs was a big radio hit, though three others managed to go top twenty. In terms of quality, however, this is the most consistent and thoroughly wonderful set of nominees this category has seen this century.  You’d have to go back to exactly 1999 to find a better lineup.

In a year when any winner would have been deserving, Underwood won for “Before He Cheats,” her second straight win for a signature mega-hit from her debut album.

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Wanda Jackson nominated for Rock and Roll Hall of Fame

Wanda Jackson has been nominated for the Rock and Roll Hall of Fame:

Metallica, Run-D.M.C. and the Stooges lead the list of nine acts up for induction next year into the Rock and Roll Hall of Fame. Five will be chosen in January for enshrinement during an April 4 ceremony at Cleveland‘s Public Hall.

Also on this year’s ballot are Jeff Beck, Chic, Wanda Jackson, Little Anthony and the Imperials, War and Bobby Womack. Acts are not eligible for the Rock Hall until at least 25 years have passed since the release of their first single.

The 2009 ceremony will be open to the public for the first time, and held in Cleveland, the home of the Rock and Roll Hall of Fame in Museum, for the first time since 1997.

Madonna, John Mellencamp, Leonard Cohen, the Ventures and the Dave Clark Five were inducted into the Rock Hall this spring.

Wanda Jackson previously made the short list four years ago. She shared the ballot with Conway Twitty and Gram Parsons, who have yet to be nominated again.

If inducted, Jackson would be the first country artist to join the Hall since 2002.   Country-related inductees include Chet Atkins (2002), Brenda Lee (2002), Bob Wills and His Texas Playboys (1999),  Bill Monroe (1997), Johnny Cash (1992), Hank Williams (1987), Elvis Presley (1986) and Jimmie Rodgers (1986).

You can read the 100 Greatest Women entry about Wanda Jackson here.

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100 Greatest Women, #22: Wanda Jackson

100 Greatest Women

#22

Wanda Jackson

The original rockabilly queen.

When Wanda Jackson heeded Elvis Presley’s advice and put some rock in her country, she shattered all conventions associated with her gender’s place in country music, injecting a raw energy into her records and live performances that still turns heads today.

In the beginning, her aspirations weren’t that lofty. Her dad bought her a guitar when she was a young child, and she grew up imitating the country acts of the forties, like Spade Cooley and Tex Williams. She was just fifteen when she won a local talent contest in Oklahoma City, the prize being her own 15-minute weekly radio show. She continued to perform on the station throughout the rest of high school, and her time was doubled as her popularity grew.

Hank Thompson heard her on the radio, and wanted her to join him on the road. She insisted on finishing high school first. It wasn’t long after graduation that she made a name for herself. She sang a duet with Billy Gray, Thompson’s bandleader, called “You Can’t Have My Love,” and it was a top ten hit in 1954. Gray’s label, Decca, signed her to a deal, and a string of unsuccessful singles followed.

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