Country Universe – A Country Music Blog

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

Sunday, November 3rd, 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

2012 CMA Awards: Staff Picks & Predictions

Sunday, October 28th, 2012

While the rest of the country fixates on “Nashville,” the 46th annual Country Music Association Awards air live from Music City with equal drama and ridiculousness November 1 at 7 p.m. CST. The CU staff picked and predicted the awards below. Chime in with your thoughts, and check back for our live blog on Thursday night!

Entertainer of the Year 

2012 CMA Nominations

Wednesday, September 5th, 2012

The list of nominees for the 46th annual Country Music Association Awards has been released.  Eric Church had a big breakthrough this past year, and such is reflected in the nominee list – Church leads the pack with five nominations.  Power couple Blake Shelton and Miranda Lambert follow with four each, including a shared Song of the Year nod for their co-write “Over You.”

What’s your take on this year’s field of CMA nominees? Whose nominations were deserved, and whose were not? Who got snubbed? Share your thoughts in the comments section.

The live presentation airs Thursday, November 1 at 8pm Eastern on ABC-TV.  The Country Universe Staff Picks & Predictions will be released the week of the show.  Feel free to join us on show night for some live-blogging fun!

Entertainer of the Year 

• Jason Aldean
• Kenny Chesney
• Brad Paisley
• Blake Shelton
• Taylor Swift

Who’s in:  Kenny Chesney
Who’s out:  Keith Urban

No real surprises here.  This year we swapped out Urban for Chesney, but all of these nominees have been here at least once before.

Female Vocalist of the Year

• Kelly Clarkson
• Miranda Lambert
• Martina McBride
• Taylor Swift
• Carrie Underwood

Who’s in:  Kelly Clarkson
Who’s out:  Sara Evans

Well, I was hoping for some new blood in this category, and that’s definitely what I got.  Pop crossover star Kelly Clarkson scores her first nomination in the Female Vocalist field, displacing Sara Evans.  There will likely be some amount of upset over Clarkson receiving such an accolade, as she had one #21-peaking country hit in the past year with “Mr. Know It All,” but has yet to release a full-length country album.  And…that makes her one of the top five leading female vocalists in the country format?  Okay…

Male Vocalist of the Year

• Jason Aldean
• Luke Bryan
• Eric Church
• Blake Shelton
• Keith Urban

Who’s in:  Luke Bryan, Eric Church
Who’s out:  Kenny Chesney, Brad Paisley

Bryan and Church’s recent career strides are rewarded

with their first nominations in the always-competitive Male Vocalist race.

Vocal Group of the Year

• The Band Perry
• Eli Young Band
• Lady Antebellum
• Little Big Town
• Zac Brown Band

Who’s in:  Eli Young Band
Who’s out:  Rascal Flatts (!!!)

Eli Young Band scores a pair of huge radio hits, and thus squeezes out a former staple of the Vocal Group race.

Vocal Duo of the Year

• Big & Rich
• Love and Theft
• Sugarland
• The Civil Wars
• Thompson Square

Who’s in:  Big & Rich, Love and Theft
Who’s out:  Montgomery Gentry, Steel Magnolia

New Artist of the Year

• Lee Brice
• Brantley Gilbert
• Hunter Hayes
• Love and Theft
• Thompson Square

Who’s in:  Lee Brice, Brantley Gilbert, Hunter Hayes, Love and Theft
Who’s out:  The Band Perry (won), Luke Bryan, Eric Church, Chris Young (So, everyone except Thompson Square)

Album of the Year (Awarded to artist and producer)

• Luke Bryan, Tailgates and Tanlines
  Produced by Jeff Stevens and Mark Bright
• Eric Church, Chief
  Produced by Jay Joyce
• Miranda Lambert, Four the Record
  Produced by Frank Liddell, Chuck Ainlay, and Glenn Worf
• Dierks Bentley, Home
  Produced by Brett Beavers, Luke Wooten, and Jon Randall Stewart
• Lady Antebellum, Own the Night
  Produced by Paul Worley and Lady Antebellum

Song of the Year (Awarded to songwriters)

• Eli Young Band, “Even if It Breaks Your Heart”
  Written by Will Hoge and Eric Paslay
• Blake Shelton, “God Gave Me You”
  Written by Dave Barnes
• Dierks Bentley, “Home”
  Written by Dierks Bentley, Dan Wilson and Brett Beavers
• Miranda Lambert, “Over You”
  Written by Miranda Lambert and Blake Shelton
• Eric Church, “Springsteen”
  Written by Eric Church, Jeff Hyde and Ryan Tyndell

Single of the Year (Awarded to artist and producer)

• Jason Aldean, “Dirt Road Anthem”
  Produced by Michael Knox
• Blake Shelton, “God Gave Me You”
  Produced by Scott Hendricks
• Dierks Bentley, “Home”
  Produced by Brett Beavers and Luke Wooten
• Little Big Town, “Pontoon”
  Produced by Jay Joyce
• Eric Church, “Springsteen”
  Produced by Jay Joyce

Musical Event of the Year

• Alan Jackson and Zac Brown Band, ”Dixie Highway”
•  Kenny Chesney and Tim McGraw, ”Feel Like a Rock Star”
•  Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson, ”Roll Me Up and Smoke Me When I Die”
•  Taylor Swift featuring the Civil Wars, ”Safe and Sound”
•  Lionel Richie and Darius Rucker, ”Stuck on You”

Music Video of the Year (Awarded to artist and director)

• Eric Church, “Springsteen”
  Directed by Peter Zavadil
• Kenny Chesney, “Come Over”
  Directed by Shaun Silva
• Miranda Lambert, “Over You”
  Directed by Trey Fanjoy
• Little Big Town, “Pontoon”
  Directed by Declan Whitebloom
• Toby Keith, “Red Solo Cup”
  Directed by Michael Salomon

Musician of the Year

Sam Bush
Paul Franklin
Dann Huff
Brent Mason
Mac McAnally

100 Greatest Men: #48. Kris Kristofferson

Friday, July 6th, 2012

100 Greatest Men: The Complete List

Though his Hall of Fame career has now stretched several decades, Kris Kristofferson will forever be defined by his legendary songwriting in the late sixties and early seventies.

An intellectual of Swedish descent, Kristofferson’s father was in the U.S. military, and as a result, he moved around quite a bit while growing up.   His twin passions were writing and rugby, and he pursued both vigorously while completing his undergraduate studies in California.   He earned a Rhodes Scholarship to Oxford University, and while studying there, he gained distinction in boxing, and more importantly, he began writing songs.

He briefly pursued a performing career while in England, with hopes that success could help him toward his real goal of publishing a novel.   When this was unsuccessful, he succumbed to family pressure and joined the army in 1960.   Five years later, he left the army, which resulted in estrangement from his family, and he arrived in Nashville to pursue his songwriting craft full time.

The cuts came slowly, but after having a few chart hits by artists like Dave Dudley and Roger Miller, he became established around town.   As the sixties turned into the seventies, Kristofferson’s pen became legendary, thanks to a string of hits for other artists.   Sammi Smith’s recording of “Help Me  Make it Through the Night” won him a Grammy for Song of the Year, while he earned the CMA trophy for “Sunday Morning Coming Down” (Johnny Cash) and the ACM trophy for “For the Good Times” (Ray Price.)  Janis Joplin, who Kristofferson had dated for some time, found her greatest success after her death, as her recording of Kristofferson’s “Me and Bobby McGee” topped the pop singles chart for several weeks.

Kristofferson’s notoriety as a writer piqued enough interest in him to lead to a successful singing career of his own.  He had several well-received albums for Monument, two of which sold gold.   Radio was mostly indifferent to the projects, with the glaring exception of his stunning #1 hit, “Why Me”, in 1973.

While he continued to sing and write songs, Kristofferson’s career took a surprising turn toward Hollywood, and he became a legitimate film star, winning a Golden Globe for Best Actor starring opposite Barbra Streisand in A Star is Born.   He also had successful musical collaborations with his wife, Rita Coolidge.   Meanwhile, Nashville stars continued to record his songs, with friend Willie Nelson even recording a platinum-selling tribute album in 1979.

His last major success as a recording artist came in 1985 as part of the supergroup The Highwaymen with Johnny Cash, Waylon Jennings, and Willie Nelson.   That same year, he was inducted into the Songwriters Hall of Fame, while the Country Music Hall of Fame elected him in 2004.

Over the past two decades, he has continued to release albums of self-written material, while continuing to tour and appear in various films, including a prominent role in the Blade trilogy.
Essential Singles:

• For the Good Times (Ray Price), 1970
• Sunday Morning Coming Down (Johnny Cash), 1970
• Me and Bobby McGee (Janis Joplin), 1971
• Help Me Make it Through the Night (Sammi Smith), 1971
• Please Don’t Tell Me How the Story Ends (Bobby Bare), 1971
• Why Me, 1973
• The Highwayman (with Johnny Cash, Waylon Jennings, and Willie Nelson), 1985

Essential Albums:

• Kristofferson, 1970
  
• Me and Bobby McGee, 1971
• The Silver Tongued Devil and I, 1971
• Jesus Was a Capricorn, 1972
• To the Bone, 1981
• Broken Freedom Song: Live From San Francisco, 2003

Next: #47. Rodney Crowell

Previous: #49. Toby Keith

100 Greatest Men: The Complete List

100 Greatest Men: #49. Toby Keith

Wednesday, July 4th, 2012

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

Favorite Songs By Favorite Artists: Shania Twain

Tuesday, May 29th, 2012

It’s about time somebody did a Favorite Songs feature on Shania, isn’t it?  I was going to save this article for after we finished covering Shania in our Retro Single Review series, but I decided I just couldn’t wait that long.

Her astounding commercial success speaks for itself, as does her heavy impact on popular music, but I remain of the opinion that Shania Twain doesn’t get nearly enough credit for the artist she was – as a songwriter, or as a vocalist.  Her songs were clever, sassy, fun, and often tapped into deep wells of substance underneath all the catchiness.  Her distinct perspective was revolutionary for her time.  As an interpretive singer, she had a strong knack for finishing off her lyrical creations through her nuanced, dynamically layered performances.  Twain's remarkable talent combined with Mutt Lange's musical vision made her one of the biggest record sellers in history.  Ever since her heyday, countless young female stars have attempted to emulate her, but the magic Twain herself created with her delicious pop-country confections remains unreplicated.

I tend to become obsessed with one favorite Shania Twain song, and then move rapidly to another, so it’s not easy to assess which songs are my all-time favorites.  I’ve resigned myself to the fact that I’ll be doing a lot of second-guessing after this article runs (though I’m fairly confident that my top three selections are set in stone).  At any rate, it will still be a fun look back on all the memorable tunes Shania gave us over the years, while also shining a spotlight on a few lesser-known tracks that we might have forgotten about.  As always, feel free to share your own favorites in the comments section.

#25

“Party for Two” (with Billy Currington)

Greatest Hits – 2004

I have at times referred to this song as a “guilty pleasure,” but then I realized that it’s such a great fun record that I don’t really feel guilty at all about loving it.  Silly “sexy in your socks” line aside, “Party for Two” is fun flirty tune that Twain and Currington sell with charm and enthusiasm.  Though more of a pop song than a country song, “Party for Two” is best heard in its country mix, as the pop version with Sugar Ray’s Mark McGrath tries a little too hard to sound pop, demonstrating that Shania often sounded best when still keeping a toe in country territory.  “Party for Two” served as Twain’s last Top 10 country hit to date.

#24

“Blues Eyes Crying In the Rain” (with Willie Nelson)

Willie Nelson & Friends – Live and Kickin’ – 2003

Twain’s pop sensibilities certainly have no ill effect on her ability to tackle a traditional country classic with grace and ease, as evidenced by her beautiful cover of this beloved Willie Nelson hit, accompanied by the man himself.

 

#23

“Ka-Ching!”

Up! – 2002

Though largely known for her lighthearted frivolous side, “Ka-Ching!” – a deft takedown of commercial materialism – shows that Twain was still perfectly capable of addressing relevant social themes.

#22

“It Only Hurts When I’m Breathing”

Up! – 2002

Though known for her positivity, Twain could still be surprisingly effective at conveying heartbreak.  Such is demonstrated by this Top 20 hit in which the protagonist strives to maintain optimism as she moves on after a breakup.  Still, the title hook shows that her heavy emotional pain remains constant.

#21

“Love Gets Me Every Time”

Come On Over – 1997

Hey, if you’re going to write a silly, cheesy song, you might as well do it thoroughly and shamelessly.  “Love Gets Me Every Time” combines a hillbilly catchphrase with an unshakable two-step-friendly musical hook to make a delightful ditty that just never seems to get old.

 

#20

“Coat of Many Colors” (with Alison Krauss & Union Station)

Just Because I’m a Woman:  Songs of Dolly Parton – 2003

It’s easy to see how Twain’s own impoverished upbringing might give her a special connection to this classic song, and to its timeless theme of love and family being worth far more than material possessions.  Indeed, “One is only poor only if they choose to be.”  Twain delivers the revered Dolly Parton lyric with authenticity and deep sincerity, while the unique touch of Alison Krauss’s backing vocal elevates the record further.

#19

“You Win My Love”

The Woman In Me – 1995

Written by Twain’s then-husband/producer Mutt Lange, this is the only song on Twain’s last three studio albums that she didn’t have a hand in writing.  The lyric is full of clever automobile-related metaphors, while the driving arrangement and the “Rev it up, rev it up ‘til your engine blows” hook practically beg to be blasted out one’s car windows.

#18

“That Don’t Impress Me Much”

Come On Over – 1997

The sentiment is clear:  Shania Twain is not impressed by guys who are overly impressed with themselves.  One part sing-along, one part spoken word, with some steel guitar and cowbell hooks thrown in, it all adds up to one heck of a fun record.

#17

“Shoes”

Desperate Housewives soundtrack – 2005

It may have been recorded for a soundtrack, but make no mistake about it:  A song that compares finding the right man to finding the ideal footwear, noting that “Some you can’t afford, some are real cheap, some are good for bummin’ around on the beach” is classic Shania.  A clever song loaded with humorous double entendres, “Shoes” is good for a chuckle any day.

#16

“(If You’re Not In It for Love) I’m Outta Here!”

The Woman In Me – 1995

The dance-friendly beat is hooky and infectious, but the content runs deeper.  At the heart of the song is a confident female protagonist who refuses to be taken advantage of.  If the guy’s not in it for love… she’s outta here.  This chart-topping hit established Twain’s distinct songwriting point of view, while helping to power her The Woman In Me album to 12x platinum sales.

#15

“I’m Gonna Getcha Good!”

Up! – 2002

Not really much to say about this one except that, as far as great pop-country hooks go, they don’t come much catchier than this.

#14

“Nah!”

Up! – 2002

A kiss-off tune that’s not nearly as bitter as such songs usually are, but that doesn’t make it any less delicious.  Twain almost seems to casually enjoy the moment of letting her no-good ex know that she’s done being mistreated by him.  She admits “I miss you now and then, but would I do it all again?”  The band abruptly stops playing as if to await her answer:  “Nah!”  Ouch.

#13

“Home Ain’t Where His Heart Is (Anymore)”

The Woman In Me – 1995

It’s a shame this song didn’t make a bigger dent in history.  I’ve always considered it one of Twain’s most subtly moving performance as the female narrator mourns the deteriorating state of her marriage; while the song offers no full resolution of the story, save for Twain hoping “If we could only find that feeling once again… If we could only change the way the story ends.”

#12

“Don’t Be Stupid (You Know I Love You)”

Come On Over – 1997

Because it makes me happy.  So there.

#11

“Leaving Is the Only Way Out”

The Woman In Me – 1995

The only song on any of Twain’s albums on which she takes sole writer’s credit, this is one of her best songs, as well as one of her countriest.  The refrain “If cryin’ is the only way into your arms, then leavin’ is the only way out” is nothing short of heartbreaking.

#10

“You’ve Got a Way”

Come On Over – 1997

Though I would recommend steering clear of the hokey Notting Hill pop remix, “You’ve Got a Way” remains one of Twain’s most beautifully understated, sincere performances on record, with the acoustic arrangement allowing her to positively shine.

#9

“Forever and For Always”

Up! – 2002

A gem of a love song with an effortlessly endearing melody and a deeply heartfelt performance on Twain’s part.  Though the song was remixed into an international pop smash, it remains best heard in its country form, in which Twain’s sentiments are driven home by subtle, beautiful strains of banjo and steel.

#8

“Whose Bed Have Your Boots Been Under”

The Woman In Me – 1995

Right out of the starting gate, Shania’s first major hit, and first Lange-produced single release, delivers a powerful punch of her priceless personality.  With a bouncy fiddle-driven production, silly rhyme schemes involving the names of the cheating lover’s mistresses, and the delightfully cheesy bridge (“So next time you’re lonely/ Don’t call on me/ Try the operator/ Maybe she’ll be free”), “Whose Bed” is both shamelessly campy and tons of fun as a result.

#7

“Is There Life After Love”

The Woman In Me – 1995

A rare thematic venture on Twain’s part to the wrong side of cheating.  She regrets her tryst, but regrets coming forward and confessing it even more, bemoaning “You gave me forgiveness, but you could not forget/ I should never have told you what I’ll live to regret.”

#6

“Man! I Feel Like a Woman!”

Come On Over – 1997

Well of course!  Who could leave out one of Shania’s most energetic, free-spirited, entertaining performances of her career?

#5

“Dance with the One That Brought You”

Shania Twain – 1993

An early Twain record from the days before she was singing her own self-written material, “Dance with the One That Brought You” marries twain’s beautifully nuanced vocal performance to a charming Gretchen Peters lyric and a gorgeous piano and steel-driven waltz of an arrangement.  It just might be one of Twain’s best moments on record, and yet Mutt Lange had absolutely nothing to do with it.  Who’da guessed?

#4

“You’re Still the One”

Come On Over – 1997

I love this song so, so much.  An unabashedly sincere vocal, shimmering production, and a lyric that encapsulates the firm commitment, pride in having overcome obstacles, and deep, genuine love of a couple that has remained together against all odds and expectations.  While I’ve long believed that commercial success does not equate to quality, I still say that this song was a massive hit because it deserved to be a massive hit.  A timeless, universal sentiment that touched pop fans and country fans alike, “You're Still the One” is pure pop-country perfection.

#3

“No One Needs to Know”

The Woman In Me – 1995

The best country songs are those that rely, not on words themselves, but on the feelings that the words and melodies tap into.  “No One Needs to Know” absolutely radiates with the giddiness and joy of a newfound love that only the narrator herself is to know of (which suggests that Taylor Swift is not kidding when she cites Twain as a major influence).  The infectious, stripped down acoustic arrangement, complete with dobro and steel chords, is a pure and simple delight.

#2

“Up!”

Up! – 2002

Twain has long been known for her incessant positivity – a consistent thread that ran throughout the Come On Over and Up! albums in particular, but was nowhere more concentrated than on the title track of Up!  It comes as a fist-pumping pop-anthem on the red disc; a sprightly banjo rocker on the green disc.  “Up!” is a hugely lovable ball of energy either way.  The production pulses with urgency as it underscores Twain’s spirited performance.  No matter what it is that’s got you down, Twain shouts “Up!  Up!  Up!  There’s no way but up from here!” until she has you believing it too.

#1

“Any Man of Mine”

The Woman In Me – 1995

Is there any other song in her catalog that so thoroughly sums up everything one could love about Shania Twain?  The energy of this performance leaps out your speakers, along with boot-stomping rhythm, the awesome fiddling, and all the signature Twain wit in the humorous lyrics.  I’m not the least bit ashamed to admit that the line dance breakdown just might be my favorite part.

It was a bold artistic move and a substantial risk at the time of its release, yet it helped blaze a trail that female country artists are still following today.  But even when bringing it down to a personal, individual level, there are simply few other Shania Twain songs, hits or not, that put a skip in my step like this one does.  Shania's cheeky delivery makes me smile.  The lyrics make me laugh.  The beat makes me want to dance.  Any way you look at it, this song hits me just right.

The critic in me respects it.  The fan in me adores it.  Now if you'll excuse me, I think it's time for some kicking, turning, and stomp-stomping…

100 Greatest Men: #56. Bobby Bare

Monday, April 9th, 2012

100 Greatest Men: The Complete List

With a career that has spanned seven decades, Bobby Bare's body of work has made him one of the genre's most influential and critically acclaimed recording artists.

Raised in poverty by his widowed father, Bare was on his own by age fifteen.  He built his own guitar and played in a Springfield, Ohio band before moving to Los Angeles to pursue a music career full-time.  His first single, “The All-American Boy”, was recorded under the name Bill Parsons.  It became a surprise pop hit, reaching #2 in America and the top thirty in England.

His pop career was short-lived, thanks to being drafted into the army.  When he returned from service, he resumed performing under his own name, pursuing a singing and songwriting career in the pop music field.  He shared an apartment with Willie Nelson and toured with some big pop acts, before turning his attention to country music in the early sixties.

Chet Atkins signed him to RCA in 1962, and he had a string of  big hits for the label, including classics like “Detroit City”, “The Streets of Baltimore”, and “500 Miles Away From Home.”  Bare began incorporating elements of the folk music scene into his music, and by the end of the decade, he'd established a reputation for tackling challenging material on record, including the controversial “(Margie's at) the Lincoln Park Inn.”

A brief stint on Mercury Records in the early seventies continued the streak of critically acclaimed albums, but he returned to RCA shortly thereafter. It was on that label that he released the landmark album Bobby Bare Sings Lullabys, Legends, and Lies.  The double album showcased the songs of Shel Silverstein, including the #1 hit, “Marie Laveau” and a duet with his son on “Daddy What If?”  Thus began a fruitful partnership with Silverstein that resulted in more critically acclaimed albums, though none of them would approach the commercial success of their first collaboration.

As the seventies progressed, Bare became aligned with the Outlaw movement, and by the early eighties, he was drawing on the catalog of writers such as Guy Clark and Townes Van Zandt.  After releasing his 1983 album Drinkin' From the Bottle, Singin' From the Heart, Bare took more than a decade off from recording. In recent years, he has returned to prominence through the Americana scene, and is now viewed as one of the forefathers of that fledgling musical movement.

Essential Singles:

• Detroit City, 1963
• 500 Miles Away From Home, 1963
• The Streets of Baltimore, 1966
• (Margie's at) the Lincoln Park Inn, 1969
• How I Got to Memphis, 1970
• Daddy What If? (with Bobby Bare, Jr.), 1974
• Marie Laveau, 1974

Essential Albums:

• Detroit City and Other Hits, 1963
  
• 500 Miles Away From Home, 1963
• (Margie's at) the Lincoln Park Inn, 1969
• This is Bare Country, 1970
• Bobby Bare sings Lullabys, Legends, and Lies, 1973
• Down & Dirty, 1980

Next: #55. Roy Clark

Previous: #57. Kenny Chesney

100 Greatest Men: The Complete List

100 Greatest Men: #59. John Anderson

Sunday, March 18th, 2012

100 Greatest Men: The Complete List

As one of the finest new traditionalists of the eighties and nineties, John Anderson pushed the boundaries of country music without sacrificing its distinctive heritage.

Like many of his contemporaries, Anderson grew up on both country and rock and roll.  He was a teenager when Merle Haggard led him to the genre, and what he heard was enough to motivate him to move to Nashville.  He did construction work around town, including putting the roof on the new Grand Ole Opry in the early seventies.  Over the next few years, he made a name on the club scene, which soon earned him a recording contract with Warner Brothers.

The label patiently worked him as a singles act, and as he gained traction at radio, they released his self-titled debut in 1980.  Its honky-tonk, traditional sound stood in stark contrast to the pop-flavored country that dominated the day.  With his second album, John Anderson 2, he solidified himself as a leader of the nascent new traditionalist movement, covering Lefty Frizzell and Billy Joe Shaver alongside original songs.

Still, it was the pop-flavored “Swingin’” which earned Anderson his greatest notoriety in the eighties.  The million-selling single earned Anderson the CMA award for Single of the Year, and was the peak of his years with Warner Brothers.  By the time he left the label in the late eighties, he’d scored twelve top ten hits.  But despite the fact that the sound he’d brought back to the forefront was all over country radio, he struggled for airplay and the critical acclaim of his early years faded away.

Then, a stunning second act.  Anderson signed with BNA Records in 1991, and staged a major comeback with the #1 hit, “Straight Tequila Night.”  It served as the anchor to the 1992 album Seminole Wind, which earned rave reviews and double-platinum sales.   Anderson was nominated for every major industry award, with the most attention going to the title track,  a poignant environmental plea for the protection of the Florida Everglades.

Anderson maintained momentum with the follow-up album, Solid Ground, which sold gold and included three big hits.  For the rest of the nineties, his success at radio was less consistent, and he scored his last significant chart action with “Somebody Slap Me”, a top thirty hit that was his first release for Mercury Records.

The new millenium brought a well-received collaboration with John Rich, with the resulting album, Easy Money, earning Anderson’s strongest reviews since Seminole Wind.   More recently, Anderson co-wrote Rich’s single, “Shuttin’ Detroit Down.”  In addition to maintaining a hectic touring schedule, Anderson is currently preparing a new studio album, slated to include guest appearances by Haggard and Willie Nelson.

Essential Singles:

• I’m Just an Old Chunk of Coal (But I’m Gonna Be a Diamond Someday), 1981
• Wild and Blue, 1982
• Swingin’, 1983
• Straight Tequila Night, 1991
• Seminole Wind, 1992
• I Wish I Could Have Been There, 1994

Essential Albums:

• John Anderson 2, 1981
• Wild & Blue, 1982
• All the People are Talkin’, 1983
• Seminole Wind, 1992
• Solid Ground, 1993
• Easy Money, 2007

Next: #58. Carl Smith

Previous: #60. Don Gibson

100 Greatest Men: #64. Jerry Reed

Sunday, March 4th, 2012

100 Greatest Men: The Complete List

A first class singer, songwriter, and musician, Jerry Reed’s talents ran far deeper than his tongue-in-cheek persona might have indicated.

Born and raised in Georgia, Reed played guitar from an early age. Music brought him comfort and structure during a childhood of instability. By the time he was out of high school, he was already signed to Capitol Records.   Though he released several singles over the next few years, it was his songwriting and guitar playing that first earned him notice.

Throughout the late fifties and the sixties, his songs were recorded by Elvis Presley, Gene Vincent, Johnny Cash, Brenda Lee, and others.  He also became an in-demand session guitarist, with a career highlight being the sessions he played with Presley, who feel in love with Reed when he heard his 1967 single, “Guitar Man.”

A strong working relationship with Chet Atkins led to a contract with RCA and further raised Reed’s profile.  By the late sixties, Reed was getting critical notice for his own records.   He had his big breakthrough in 1970, when “Amos Moses” became a gold-selling pop and country hit.   In 1971, ‘When You’re Hot, You’re Hot” became his first #1 country single and another big pop hit.

Throughout the seventies, Reed matched popular singles and albums with high profile media exposure.  He was a regular on Glen Campbell’s television show, and he appeared in several films.   His greatest notoriety came as Cledus Snow in the wildly popular Smokey and the Bandit film series.   “East Bound and Down” was recorded for the soundtrack of the first film, and became one of his biggest hits.

Reed’s recording career had a second wind when he released the 1982 album The Man with the Golden Thumb.   Often rated as his strongest studio album, it featured the classic hit “She Got the Goldmine (I Got the Shaft).”  Reed quickly followed with the hit album, The Bird.  The title track had him mimicking both George Jones and Willie Nelson, and the album also featured a hit cover of the Creedence Clearwater Revival song, “Down on the Corner.”

The nineties brought a fun collaboration with Mel Tillis, Bobby Bare, and Waylon Jennings, a live album dubbed Old Dogs.   Reed also starred as the coach in the box office smash, The Waterboy.    Illness sidelined him as he aged, and he passed away in 2008 due to complications caused by emphyzema.

Essential Singles:

• Guitar Man, 1967
• Amos Moses, 1970
• When You’re Hot, You’re Hot, 1971
• Lord, Mr. Ford, 1973
• East Bound and Down, 1977
• She Got the Goldmine (I Got the Shaft), 1982

Essential Albums:

• The Unbelievable Guitar and Voice of Jerry Reed, 1967
  
• Nashville Underground, 1968
• Me & Chet (with Chet Atkins), 1972
• Lord Mr. Ford, 1973
• The Man with the Golden Thumb, 1982

Next: #63. Clint Black

Previous: #65. Asleep at the Wheel

100 Greatest Men: The Complete List

100 Greatest Men: #65. Asleep at the Wheel

Saturday, March 3rd, 2012

100 Greatest Men: The Complete List

It’s an old saying that Ray Benson most certainly would agree with: “It don’t mean a thing if it ain’t got that swing.”

Asleep at the Wheel has undergone many lineup changes since it was formed in 1970 by Benson, Lucky Oceans, and Leroy Preston.  They were joined shortly thereafter by Chris O’Connell, a female singer.  They started out as a country band, but their sound was forever changed by Merle Haggard’s tribute album to Bob Wills.  Since hearing that seminal album, they’ve been devoted to both the preservation and development of Western Swing.

Their debut album was released in 1973 by United Artists, but the band laid down roots in 1974 when they moved to Austin, Texas.  They recorded for a variety of major labels in the seventies and eighties, and had significant commercial success with four albums for Capitol.  The band became widely known for their outstanding live performances, and scored a few hits at country radio, too.

Early on in the band’s run, the lineup began to change, which has become a trademark of the band that has aided its incredible longevity.  The one constant has always been frontman Ray Benson, who has kept the band relevant through bringing in new talent regularly and through creative collaborations with other artists.  They’ve won a remarkable eight Grammy awards, including six for Best Country Instrumental Performance.

Their commitment to preserving the legacy of Bob Wills resulted in two widely hailed and warmly embraced tribute albums: 1993′s A Tribute to the Music of Bob Wills and the Texas Playboys, and 1999′s Ride with Bob.  The former earned a CMA nomination for Album of the Year, and the latter brought the band back to the country singles chart, thanks to unsolicited airplay for “Roly Poly”, a duet with the Dixie Chicks.

To celebrate Wills’ centennial, Benson starred in a touring musical called A Ride with Bob, where he played himself touring the life of Wills as his band plays along. The show received rave reviews, and one show was even attended by President George W. Bush and First Lady Laura Bush.

In 2009, almost three decades after the band first formed, they had the highest-charting album of their career with Willie and the Wheel, a collaboration with fellow Austin icon Willie Nelson.

Essential Singles:

• Choo Choo Ch’Boogie, 1973
• The Letter that Johnny Walker Read, 1975
• Route 66, 1976
• House of Blue Lights, 1987
• Red Wing, 1993

Essential Albums:

• Comin’ Right at Ya, 1973
• Texas Gold, 1975
• Asleep at the Wheel, 1985
• Ten, 1987
• A Tribute to the Music of Bob Wills and the Texas Playboys, 1993
  
• Willie and the Wheel (with Willie Nelson), 2009

Next: #64. Jerry Reed

Previous: #66. David Houston

100 Greatest Men: The Complete List