Tag Archives: Willie Nelson

Single Review: Brantley Gilbert, “Country Must Be Country Wide”

1. There isn’t a country radio station in any city playing Cash, Hank, Willie, or Waylon in 2011, let alone one in every city nationwide.

2. Country as presented here is a lifestyle, not a revolutionary political movement.  No need for all the drama.

3. This song is about as country as “Wanted Dead or Alive” anyway.

4. Oh, and Neal McCoy already did this.

Grade: C

Listen: Country Must Be Country Wide

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Grammy Awards 2011: Staff Picks & Predictions

It’s hard to believe, but it’s that time of year again: the 2011 Grammy Awards air this Sunday at 8 p.m. Eastern. Country music has its hand in the Grammy pot via major nominations for Lady Antebellum, performances by Miranda Lambert, Lady A and Martina McBride, and appearances by Keith Urban, Zac Brown, Blake Shelton and Kris Kristofferson. We’ve picked and predicted the awards below – chime in with your own thoughts, and stop by on Sunday night for our live blog!

Album of the Year

Should Win

  • Arcade Fire, The Suburbs - Dan
  • Eminem, Recovery - Kevin, Tara
  • Lady Antebellum, Need You Now
  • Lady Gaga, The Fame Monster
  • Katy Perry, Teenage Dream

Will Win

  • Arcade Fire, The Suburbs
  • Eminem, Recovery - Kevin, Dan, Tara
  • Lady Antebellum, Need You Now
  • Lady Gaga, The Fame Monster
  • Katy Perry, Teenage Dream

Kevin: In a field of newer artists, Eminem is the established veteran that is overdue for this award. It helps that he also made the best album of his career, as well as of the five nominees.

Dan: I could actually see Lady A coming out on top, since they’ve moved a lot of units and are the least divisive act here. But Recovery was a big comeback, and NARAS likes to use this award as a lifetime achievement thing. I don’t like that tendency, though; I’d rather we just reward the best set. To me, that was Arcade Fire’s ambitious concept album.

Tara: I really respect The Suburbs and really dig Recovery. Both are deserving, but Eminem probably has the edge with NARAS for the reasons stated above. (PS – I’m still not over it. TEENAGE DREAM?)

Record of the Year

Should Win

  • B.O.B featuring Bruno Mars, “Nothin’ On You”
  • Eminem featuring Rihanna, “Love the Way You Lie”
  • Cee Lo Green, “F*** You” - Dan, Tara
  • Jay-Z featuring Alicia Keys, “Empire State of Mind” - Kevin
  • Lady Antebellum, “Need You Now”

Will Win

  • B.O.B featuring Bruno Mars, “Nothin’ On You”
  • Eminem featuring Rihanna, “Love the Way You Lie”
  • Cee Lo Green, “F*** You”
  • Jay-Z featuring Alicia Keys, “Empire State of Mind”
  • Lady Antebellum, “Need You Now” - Kevin, Dan, Tara

Kevin: Perhaps it’s an instinctual reaction as a native New Yorker, but I still get chills every time I hear “Empire State of Mind.” Jay-Z’s casual “Long live the World Trade” in the second verse perfectly captures how our city moved briskly forward after 9/11 like we always do, but we haven’t forgotten it.

No Urban or Hip-Hop record has ever won this award, so it pains me to predict that Lady Antebellum will triumph over four better records. I hope I’m wrong.

Dan: Cee Lo’s viral novelty hit was one of last year’s biggest delights. I could see this award going to any track but “Nothin’ On You,” but suspect voters will probably go with the least edgy track.

Tara: I could make an argument for four of the five songs here, but I can’t peel myself away from Green’s personality-packed throwback hit that practically begs you to love it. And do I. I agree with Dan and Kevin, though, that Lady A will take this.

Song of the Year

Should Win

  • “Beg, Steal, or Borrow” – Ray LaMontagne
  • “F*** You!” – Brody Brown, Cee Lo Green, Philip Lawrence & Bruno Mars
  • “The House That Built Me” – Tom Douglas & Allen Shamblin - Kevin, Tara
  • “Love the Way You Lie” – Alexander Grant, Skylar Grey & Marshall Mathers
  • “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Will Win

  • “Beg, Steal, or Borrow” – Ray LaMontagne
  • “F*** You!” – Brody Brown, Cee Lo Green, Philip Lawrence & Bruno Mars
  • “The House That Built Me” – Tom Douglas & Allen Shamblin – Kevin, Tara
  • “Love the Way You Lie” – Alexander Grant, Skylar Grey & Marshall Mathers
  • “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Kevin: I think the biggest hurdle for “The House That Built Me” was getting the nomination. It really stands out in this field. It used to be rare for the Song victor to not be nominated for Record, but it has happened three times in the last seven years, including last year.

Tara: I’d honestly be happy to see any of these songs win. I’ll back “The House That Built Me” and just take a guess that the voters will, too.

Best New Artist

Should Win

  • Justin Bieber
  • Drake
  • Florence + the Machine
  • Mumford & Sons - Dan, Kevin, Tara
  • Esperanza Spalding

Will Win

  • Justin Bieber
  • Drake – Kevin, Dan, Tara
  • Florence + the Machine
  • Mumford & Sons
  • Esperanza Spalding

Kevin: I dig Mumford & Sons the most, but Drake seems to be the guy to beat.

Dan: I think Mumford has the most potential going forward. They’re got a dark-horse shot at the win, too, though Drake does seem like the most logical choice. Bieber’s by far the biggest name right now, but NARAS didn’t give it to tween-fave forerunners Hanson or Jonas Brothers, so…

Tara: Ditto. Although I have an unexplainable inkling that the Bieber might nab the award.

Best Country Album

Should Win

  • Dierks Bentley, Up on the Ridge – Kevin, Tara, Leeann
  • Zac Brown Band, You Get What You Give
  • Jamey Johnson, The Guitar Song - Dan
  • Lady Antebellum, Need You Now
  • Miranda Lambert, Revolution

Will Win

  • Dierks Bentley, Up on the Ridge
  • Zac Brown Band, You Get What You Give
  • Jamey Johnson, The Guitar Song
  • Lady Antebellum, Need You Now – Dan
  • Miranda Lambert, Revolution - Kevin, Tara, Leeann

Kevin: I think Bentley made the best record, and perhaps the slew of collaborators will help raise its profile with voters. Usually the country album nominated for overall Album wins this award, but I’m thinking that Lambert’s recent awards streak will continue here.

Dan: I pick Johnson by a nose, but genuinely like every album here besides Need You Now. Hoping Kevin’s right about that one.

Leeann: Like Kevin said, Bentley deserves to win and I hope he does, but I think Lambert’s album may win due to accessibility and her reputation for artistic integrity.

Tara: Up on the Ridge and Revolution both hit my sweet spot: they straddle the line between reverent and relevant and make me genuinely excited about country music’s future. Bentley’s album is the better of the two (and the best of the bunch) – but I think Lambert’s will pick up the most votes.

Best Female Country Vocal Performance

Should Win

  • Jewel, “Satisfied”
  • Miranda Lambert, “The House That Built Me” - Dan, Kevin, Tara, Leeann
  • LeAnn Rimes, “Swingin’”
  • Carrie Underwood, “Temporary Home”
  • Gretchen Wilson, “I’d Love to Be Your Last”

Will Win

  • Jewel, “Satisfied”
  • Miranda Lambert, “The House That Built Me” - Dan, Kevin, Tara, Leeann
  • LeAnn Rimes, “Swingin’”
  • Carrie Underwood, “Temporary Home”
  • Gretchen Wilson, “I’d Love to Be Your Last”

Kevin: This is Lambert’s best shot at a Grammy. Underwood will threaten, as always, but I think the strength of this song makes it tough to beat.

Leeann: Lambert’s signature song is the strongest and likely most long-lasting of the bunch.

Tara: Lambert and Underwood turn in two of the most emotive, powerful performances of their careers, but “The House That Built Me” is undeniably the better song. Since Underwood’s Grammy streak seems to be up for now, I think the voters will side with Lambert.

Best Male Country Vocal Performance

Should Win

  • Jamey Johnson, “Macon”
  • Toby Keith, “Cryin’ For Me (Wayman’s Song)” - Kevin, Leeann
  • David Nail, “Turning Home” - Dan
  • Keith Urban, “‘Til Summer Comes Around”
  • Chris Young, “Gettin’ You Home (The Black Dress Song)”  - Tara

Will Win

  • Jamey Johnson, “Macon”
  • Toby Keith, “Cryin’ For Me (Wayman’s Song)”
  • David Nail, “Turning Home”
  • Keith Urban, “‘Til Summer Comes Around” - Dan, Kevin, Tara, Leeann
  • Chris Young, “Gettin’ You Home (The Black Dress Song)”

Kevin: I am not going to complain about Urban winning again for my favorite single from his last two albums. But Toby Keith is way overdue in this category, and he’s nominated for one of his best vocal performances to date.

Dan: Nail’s nuanced performance brought what could have been a very rote song to life. And his career could use the boost.

Leeann: I think the Grammy voters will reflexively give the award to Keith Urban, but Toby Keith’s song is the most poignant of the nominees.

Tara: Urban’s got his hold on this category, but I’m in Young’s corner. His slow-burning hit is as charming as it is sexy, which isn’t an easy thing to pull off. And that voice.

Best Duo/Group Country Vocal Performance

Should Win

  • Zac Brown Band, “Free”
  • Dailey & Vincent, “Elizabeth”
  • Lady Antebellum, “Need You Now”
  • Little Big Town, “Little White Church”- Tara
  • The SteelDrivers, “Where Rainbows Never Die” - Kevin, Leeann

Will Win

  • Zac Brown Band, “Free”
  • Dailey & Vincent, “Elizabeth”
  • Lady Antebellum, “Need You Now” - Kevin, Tara, Leeann
  • Little Big Town, “Little White Church”
  • The SteelDrivers, “Where Rainbows Never Die”

Kevin: I think it’s a race between Lady Antbellum and Zac Brown Band, with LA in the lead. But the SteelDrivers get the annual “song I discovered because it was nominated for a Grammy and fell in love with after hearing it” award from me.

Leeann: The SteelDriver’s song is my favorite with Little Big Town at a close second, but I suspect that Lady A won’t be shut out for such a hugely popular radio hit across the board.

Tara: Dear NARAS: since “Single Ladies” got screwed over for ROTY last year, please show Little Big Town some love for their crazy awesome countrified version. It’s just as good…maybe even better?

Best Country Collaboration with Vocals

Should Win

  • “Bad Angel” — Dierks Bentley, Miranda Lambert & Jamey Johnson
  • “Pride (In The Name Of Love)” — Dierks Bentley, Del McCoury & The Punch Brothers
  • “As She’s Walking Away” — Zac Brown Band & Alan Jackson – Kevin, Tara, Leeann
  • “Hillbilly Bone” — Blake Shelton & Trace Adkins
  • “I Run To You” — Marty Stuart & Connie Smith

Will Win

  • “Bad Angel” — Dierks Bentley, Miranda Lambert & Jamey Johnson
  • “Pride (In The Name Of Love)” — Dierks Bentley, Del McCoury & The Punch Brothers
  • “As She’s Walking Away” — Zac Brown Band & Alan Jackson – Kevin, Tara, Leeann
  • “Hillbilly Bone” — Blake Shelton & Trace Adkins
  • “I Run To You” — Marty Stuart & Connie Smith

Kevin: Best collaboration in a very long time. Love hearing an artist from my youth playing elder statesman so well.

Leeann: It’s difficult for me to imagine that “As She’s Walking Away” won’t be rewarded for both its popularity and the significance of the still active veteran, Alan Jackson, dispensing wisdom to the up-and-coming bright stars of country music in the Zac Brown Band.

Tara: I love the groove of “Bad Angel,” but its collaboration isn’t nearly as dynamic nor as fitting as that of “As She’s Walking Way.” I can’t imagine any “wise man” but Jackson pulling up a stool next to Brown in this song.

Best Country Instrumental Performance

Should Win

  • Cherryholmes, “Tattoo of a Smudge”
  • The Infamous Stringdusters, “Magic #9″
  • Punch Brothers, “New Chance Blues” – Kevin, Leeann
  • Darrell Scott, ‘Willow Creek”
  • Marty Stuart, “Hummingbyrd”

Will Win

  • Cherryholmes, “Tattoo of a Smudge”
  • The Infamous Stringdusters, “Magic #9″
  • Punch Brothers, “New Chance Blues” - Kevin, Leeann
  • Darrell Scott, ‘Willow Creek”
  • Marty Stuart, “Hummingbyrd”

Kevin: Punch Brothers are approaching Nickel Creek levels of awesomeness. Possibly exceeding them.

Leeann: Kevin’s right. Even as someone who isn’t typically fond of instrumentals, I dig those of the Punch Brothers.

Best Country Song

Should Win

  • “The Breath You Take” — Casey Beathard, Dean Dillon & Jessie Jo Dillon
  • “Free” — Zac Brown
  • “The House That Built Me” — Tom Douglas & Allen Shamblin - Dan, Kevin, Tara, Leeann
  • “I’d Love To Be Your Last” — Rivers Rutherford, Annie Tate & Sam Tate
  • “If I Die Young” — Kimberly Perry
  • “Need You Now” — Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Will Win

  • “The Breath You Take” — written by Casey Beathard, Dean Dillon & Jessie Jo Dillon
  • “Free” — written by Zac Brown
  • “The House That Built Me” — written by Tom Douglas & Allen Shamblin – Kevin, Tara, Leeann
  • “I’d Love To Be Your Last” — written by Rivers Rutherford, Annie Tate & Sam Tate
  • “If I Die Young” — written by Kimberly Perry
  • “Need You Now” — written by Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Kevin: My heart is owned by “If I Die Young”, but I think that “The House That Built Me” is objectively the best song.

Leeann: While The Band Perry’s song sounds the coolest, the writing for “The House That Built Me” is clear frontrunner for the best song of the year.  It deserves and likely will be recognized as such, especially since it was both very critically acclaimed and successful as a single.

Tara: No question “The House That Built Me” is the best written song of the group, and I think it’ll be recognized as such.

Best Bluegrass Album

Should Win

  • Sam Bush, Circles Around Me
  • Patty Loveless, Mountain Soul II
  • The Del McCoury Band, Family Circle
  • Peter Rowan Bluegrass Band, Legacy
  • The SteelDrivers, Reckless – Kevin

Will Win

  • Sam Bush, Circles Around Me
  • Patty Loveless, Mountain Soul II
  • The Del McCoury Band, Family Circle – Kevin
  • Peter Rowan Bluegrass Band, Legacy
  • The SteelDrivers, Reckless

Kevin: Kudos to Loveless for her nomination, but I like the SteelDrivers set more.

Best Americana Album

Should Win

  • Rosanne Cash, The List
  • Los Lobos, Tin Can Trust
  • Willie Nelson, Country Music – Dan, Kevin
  • Robert Plant, Band of Joy
  • Mavis Staples, You Are Not Alone

Will Win

  • Rosanne Cash, The List
  • Los Lobos, Tin Can Trust
  • Willie Nelson, Country Music
  • Robert Plant, Band of Joy
  • Mavis Staples, You Are Not Alone - Kevin

Kevin: So I think Staples is nominated for an awesome gospel album and Nelson for an awesome country album. This category is confusing.

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Where’ve You Been? – 2011 Edition

It’s hard to believe that there once was a time that country artists put out two full-length albums a year.  If they were part of a regular superstar duet team, like Conway Twitty & Loretta Lynn or Porter Wagoner & Dolly Parton, a fan might hear as many as four new studio albums from their favorite artist.

By the time that I got into country music – twenty years ago, natch – things had slowed down a bit.  Artists usually released a new album every 12-18 months.  Sometimes they’d push it to two years, but not often.

Those were the days.  Waits between album releases have gotten crazy lately.  I’m all for taking the time to get it right, but once we push past the half-decade mark, things have gone too far.  Sure, we’re given side projects to carry us over, but there’s no substitute for a full-length studio album of all-new material.

Here are five artists who I’d really love to see make a long-awaited return with a new album in 2011, along with a brief rundown of the side projects that they’ve been busy with while we’ve waited for that new album:

Shania Twain

Last Studio Album: Up! (2002)

Side Projects: Greatest Hits (2005), featuring four new tracks; contributions to a Dolly Parton tribute album, a live Willie Nelson album, an Anne Murray duet album, and the Desperate Housewives soundtrack.

It’s been over eight years since Twain released that 19-track opus. It was cool that she released the album in three different mixes, essentially giving us 57 new mp3s for the iPods we didn’t even have yet. Of all the superstar acts, she’s the one who has been away the longest.

Wynonna

Last Studio Album: What the World Needs (2003)

Side Projects: Live album, Christmas album, covers album, Cracker Barrel album…

In a sense, she’s never really gone away. But despite being a fixture in the media and releasing so many other-type albums, we haven’t gotten a real studio set from Wynonna in over seven years. Given that the last one was among the finest in her career, it’s a shame she has yet to craft another mainstream country album.

Dwight Yoakam

Last Studio Album: Blame the Vain (2005)

Side Projects: A Buck Owens tribute album in 2007, Dwight Sings Buck.

The most distressing absence on the list, mostly because he’s been so prolific in the past. Movie appearances are keeping him busy. Here’s hoping that when he does return, we get more than ten songs.

Dixie Chicks

Last Studio Album: Taking the Long Way (2006)

Side Projects: “The Neighbor”, from the Shut Up & Sing documentary; contributions to a Tony Bennett duet project; Emily and Martie’s Court Yard Hounds set; Natalie’s duet with Neil Diamond.

It’s hard to follow up an album that wins a bunch of Grammys, but it’s not like they haven’t done so before. If they’re insisting on writing all of the next album, it could be gestating for a very long time. Can’t we get a Patty Griffin or Darrell Scott covers album to hold us over?

Vince Gill

Last Studio Album: These Days (2006)

Side Projects: A mother lode of duet and harmony appearances on other artist’s albums (Reba McEntire, Charlie Daniels, Amy Grant, Clay Aiken…)

Gill’s last album was a four discs worth of new material, so it’s understandable that it would take a couple of years for him to craft a new one. But we’re going on five now. Since Gill was able to create those four discs a mere three years after his previous studio set (2003′s Next Big Thing), we should be due for a new album soon.

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A Tale of Four Hits Collections

Four generous hits collections were released in 2010, each one chronicling the entire career of a contemporary country music star.  Individually, each double-disc set serve as the most expansive and thorough compilation for each artist. Taken together, they tell the story of country music over the last twenty years.

Alan Jackson
34 Number Ones

In the late eighties, Randy Travis did something that no other country star had done before. He became the top-selling country artist by a wide margin without making any musical concessions to pop or rock. In doing so, he tore up the old playbook. Suddenly, you could be a multi-platinum country artists without the added benefit of top 40 radio or accolades from the rock and roll press.

Thus began contemporary country music, the new paradigm that reached its commercial peak in the nineties, but has never come close to receding to its earlier status as a niche genre. A crop of young stars surfaced in 1989 and 1990, each one of them staking a claim to be the Haggard, the Jones, the Willie, the Waylon of their generation. Out of all of them, none struck a more perfect balance between artistic credibility and commercial viability than Alan Jackson.

Simply put, he is the most significant singer and songwriter of the past quarter century. So it’s no surprise that out of all of the country stars who’ve compiled #1 hit collections, Jackson’s set is the best, both in terms of overall quality and effectiveness in summing up an entire career.

Fact is, radio’s played nearly everything Jackson’s sent their way, and he’s demonstrated remarkably good judgment over the past twenty years. The highest of the high points – “Here in the Real World”, “Don’t Rock the Jukebox”, “Chattahoochee”, “Gone Country”, “Where Were You”, “It’s Five O’Clock Somewhere” – aren’t just great records from their time period. They’re accurate representations as well, little time capsules that show Jackson as being centrally relevant to the genre while he was also making great music.

Today, with critical acclaim and commercial success becoming increasingly divergent pathways, 34 Number Ones serves as a powerful reminder that one need not sacrifice quality for radio airplay. Of the new tracks, Jackson’s cover of “Ring of Fire” doesn’t quite measure up, It’s certainly a competent reading, but Jackson’s already a legend in his own right. Just listen to “As She’s Walking Away”, the duet with Zac Brown Band that serves at the set’s bonus 35th number one. His mere presence elevates the track into greatness.

Tim McGraw
Number One Hits

Jackson’s ascent into superstardom came at the peak of the new traditionalist movement. Tim McGraw got in just under the buzzer, breaking through a year before Shania Twain shifted the course of country music to a distinctively more pop sound. He’s since been able to maintain stardom by going with the flow of these changes.

At his best, few have been better than Tim McGraw, but Number One Hits documents his bookend years as a follower of trends. It’s the songs on either end of his hit run than are the weakest. Whereas Jackson has flirted with banality once in a while, McGraw has openly embraced it. He became a mega-star by alternating shoehorning the five-hankie weepfest “Don’t Take the Girl” between novelty songs like “Indian Outlaw” and “Down on the Farm”, all of which reek of the hat act herd mentality that was heading out of style in 1994.

But McGraw used his clout from those early hits to get access to better material, and his albums soon demonstrated a song sense that was unrivaled among the other new acts of the time, most of whom quickly faded away as pop ascended in the genre. The best of his biggest singles came over the course of the next decade. Classics like “Just to See You Smile”, “Please Remember Me”, “Angry all the Time” and “Live Like You Were Dying” were among the best songs on the radio.

For a while there, he could get just about anything into the top fifteen, but this collection focuses only on the chart-toppers. So instead of fantastic gems like “Can’t Be Really Gone”, “One of These Days”, “Red Ragtop”, and “If You’re Reading This”, this set features quite a bit of forgettable fare that hasn’t aged well. They may have topped the charts, but that doesn’t make “Not a Moment Too Soon”, “She Never Lets it Go to Your Heart”, and the particularly abysmal “Southern Voice” worthy of inclusion in a best-of set.

If they were able to suspend the concept to include a questionable dance remix of the #8 chart hit “Indian Outlaw” and the mediocre new hit “Felt Good on My Lips”, they might as well have just been more generous with the track listing and released The Very Best of Tim McGraw. His music has been far more compelling than this collection shows.

Dixie Chicks
The Essential Dixie Chicks

The explosive crossover success of Shania Twain, LeAnn Rimes, and Faith Hill was in full swing in 1998, which left traditionalists hungering for a superstar alternative. In waltzed the Dixie Chicks, with a combination of musical credibility, traditional roots, and youthful appeal that instantly made them the darlings of the format. Over the course of two albums – 1998′s Wide Open Spaces and 1999′s Fly – they dominated radio, retail and the awards circuit.

Tracks from those two albums combine for fourteen of the thirty tracks of The Essential Dixie Chicks. All of the biggest hits are here, but chart success wasn’t the only determination for inclusion. Thank God for that, as less impressive top ten hits like “Cold Day in July” and “If I Fall You’re Going Down With Me” are left off, with the far more compelling “Heartbreak Town” and “Sin Wagon” in their place.

As good as their first two albums were, it was the 2002 masterpiece Home that truly solidified them as artists for the ages. Released at the height of O Brother mania, the timing couldn’t have been better for this acoustic album. “Long Time Gone”, “Landslide”, and “Travelin’ Soldier” all went top two, and the album swept the country categories at the 2003 Grammy Awards.

And then, the bottom fell out. Poorly chosen words about the president quickly overshadowed Home, and the princesses of country radio suddenly became pariahs, taking the burgeoning roots movement down with them. Radio slamming its door shut is what makes a hit-centered Chicks compilation impossible, and Essential Dixie Chicks wisely chooses to give equal representation to Home and its follow-up, the California country Taking the Long Way.

An excellent job is done of selecting the best album cuts from both collections, an especially difficult task with the latter album. Sure, it won five Grammys and sold well, but the platinum single “Not Ready to Make Nice” was the only real hit. Thankfully, we’re treated to gems like “Top of the World” and “Truth No. 2″ from Home and “The Long Way Around”, “Easy Silence,” and “Lubbock or Leave It” from Taking the Long Way.

And while a case could be made for some great tracks left off – “Godspeed (Sweet Dreams)”, “More Love”, and “Voice Inside My Head” come to mind – everything that’s here is essential listening. Then again, the Chicks could have randomly picked any 30 songs from the four albums represented here and still ended up with a great collection of music, so high has their standard of excellence been all along. How many other superstar country artists could do the same?

Brad Paisley
Hits Alive

If the Dixie Chicks best represent the last gasp of lofty aspiration in mainstream country music over the past twelve years, Brad Paisley best represents the mediocrity the genre was willing to settle for. Rising to fame around the same time as the Chicks, Paisley was similarly touted as a traditional savior for the increasingly pop-influenced genre.

And for more than ten years, he’s lived up to the traditionalist part, rarely flirting with crossover sounds. Much like Alan Jackson, Paisley’s sound hasn’t changed much over time. But unlike Jackson, Paisley’s point of view hasn’t changed much either. He’s been releasing antiseptic, mostly dull radio fodder for most of his career, getting regular radio play with an endless stream of interchangeable love songs and party anthems.

Hits Alive attempts to assess his work to date, and it takes an odd approach. A disc of studio hits is paired with a disc of live recordings of his hits. Figuring out the guiding principle in song selection is near impossible. Some of his signature hits – “I’m Gonna Miss Her”, “Letter to Me”, “Waitin’ on a Woman” – appear only in live form. Songs that practically beg to be livened up, like “Ticks”, “The World”, and “Celebrity” – are only here in their studio incarnations. Bizarrely, “Alcohol” and “Mud on the Tires”, are presented in both forms.

The double dipping means early hits like “Who Needs Pictures”, “Wrapped Around”, “Two People Fell in Love”, and “I Wish You’d Stay” are omitted entirely. That’s a shame, because they’re all better than his string of condescending and slightly misogynist love songs that do make the cut, the worst offenders being “The World” and the jaw-dropping “Little Moments”, the latter providing a list of endearing traits that would be insulting if he was singing about his child, let alone his partner.

Thankfully, many of his best moments are included, most notably “Whiskey Lullaby” and “When I Get Where I’m Going”, two hits that have gone on to become genre standards in the years since their release. Plus, the live disc brings some unexpected treats. “Time Warp” showcases his stunning instrumental talent, while the hits “Water” and “American Saturday Night” truly do come alive on stage, making them sound better here than they did on the radio.

Of the four collections, Paisley’s may be the least impressive, but it’s still a decent representation of one of country music’s last superstars, and it speaks volumes about the creative holding pattern that still paralyzes the genre. Unless the spiritual successors to Alan Jackson or the Dixie Chicks come along, Paisley’s might be as good as it’s gonna get on country radio.

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Back to School

Another summer has come and gone.  For those of you headed back into the classroom, here’s some helpful advice from some country music stars:

1. Avoid social stereotypes.

The girl in the bleachers might be your dream girl…

…and overlooking that guy with the guitar can come back and haunt you.

2.  Always finish your reading assignments.

Especially if you’re gonna write about what you read.

3. Math Class is important, too.

4. Sometimes passing notes can be a good thing.

5. Work hard, but keep your worries in check.

It’ll all work out in the end…

…as long as you stay in school.

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Single Review: Jamey Johnson, “Playing the Part”

Country boy, you got your feet in L.A. Again.

The country boy as fish out of the water in Los Angeles. Or New York. Or Detroit. It’s a pretty common theme in country music. Jamey Johnson does his own spin on this theme with his new single, “Playing the Part.”  It’s not terribly bad, but it’s not terribly good, either.  “Big City” certainly doesn’t have to worry about losing its slot on the Waffle House Jukebox.

Despite a busy little beat, Johnson remains only a step above lethargic.  His “Randy Travis 45 on 33 1/3 speed” vocal delivery worked for the slowly revealing lyrics of “In Color” and “High Cost of Living.”  But it lets him down here. Even the addiction reference feels obligatory, with Johnson repeating the “pills’ and “Hollywood hills” rhyme that worked much better on Faith Hill’s “When the Lights Go Down.”

That record worked because Hill actually sounded like someone who could have known someone in L.A. who’d gone down that road. Johnson’s got a gold album under his belt and has won a few awards, but it’s a stretch to picture him as a country boy who went chasing fame and fortune in California and is now collapsing under the weight of his success.

It was a stroke of marketing brilliance for Johnson to package himself as a modern-day Outlaw, making it far easier for him to reach a targeted demographic that would eagerly embrace him. Lord knows they’re going to eat these limited editions up like Taylor Swift fans blew their Sweet Sixteen money on this.

But he’s yet to really demonstrate that he could be the second coming of Waylon Jennings or Willie Nelson.  Right now, he’s got a shot at being a modern-day Gary Stewart or Mel Street, but he’s going to need better material than this to get there.

Like so much of country music today, and pop for that matter, the marketing and media campaigns are dramatically outpacing the development of the music.  Artists who have an album or two under their belt are being heralded as the new incarnation of legends with thirty-year careers. It’s an insult to the legends and an unfair burden to place on artists that are still honing their craft.

Because  in the end, the hype will die down and the music is all we’ll be left with.  I’d love to see Johnson become the traditional country legend that he’s been prematurely ordained, but he’s barely out of the starting gate, and I don’t see him getting much further down the road with material like this.

Written by Jamey Johnson and Shane Minor

Grade: B-

Listen: Playing the Part

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Filed under Single Reviews

400 Greatest Singles of the Nineties: #325-#301

The first quarter of the countdown comes to a close, highlighted by excellent comeback attempts by T. Graham Brown, Emmylou Harris, and Willie Nelson.

400 Greatest Singles of the Nineties: #325-#301

#325
He Would Be Sixteen
Michelle Wright
1992 |  Peak: #31

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Sometimes the choices that you make linger forever. Here, a woman in her thirties drives past a high school football game, and her mind wanders to the painful void left in her heart from the son she gave up for adoption. – Kevin Coyne

#324
It Matters to Me
Faith Hill
1995  |  Peak: #1

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Faith Hill’s sophomore album is a surprisingly deep set, filled with candid insights into different womens’ lives. The title track represents that approach well, with Hill’s protagonist speaking to the differences in her approach to love and her partner’s. Seems simple, but then again, people spend thousands in couples counseling trying to find a way to voice feelings this directly. – Dan Milliken

#323
She’d Give Anything
Boy Howdy
1993  |  Peak: #4

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A not-so-subtle depiction of how elusive true love can be for some women – even those who desperately seek it – that resonates not despite of but because of its blatancy. There’s a beautiful honesty to the song’s precise articulation of the mixture of frustration and strength that builds up within these women. – Tara Seetharam

#322
The Trouble With the Truth
Patty Loveless
1997  |  Peak: #15

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The trouble with the truth is that is just so demanding. We think we want it, but it often requires some sort of action from us once we have it. Loveless struggles with this quandary: “The trouble with the truth is it always begs for more. That’s the trouble with the truth.” – Leeann Ward

#321
Still Gonna Die
Old Dogs
1999  |  Peak: Did Not Chart

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Waylon Jennings, Mel Tillis, Bobby Bare, and Jerry Reed united for an amazing live album dominated by Shel Silverstein songs. For anyone who read his brilliant poetry books for children, “Still Gonna Die” is the golden years equivalent: clever, frightening, and darkly hilarious.  KC

#320
Wanted
Alan Jackson
1990  |  Peak: #3

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An apology via a wanted ad could be disastrous in the hands of many male country artists, but it’s simply lovely in Jacksons’, ringing with sincerity and regret. – TS

#319
Finish What We Started
Diamond Rio
1995  |  Peak: #19

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While it’s not a part of the wedding song canon, this is a gorgeous declaration of commitment. – LW

#318
Tryin’ to Hide a Fire in the Dark
Billy Dean
1992  |  Peak: #6

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From the first strains of the song, we know this is going to be a dark one. While he hasn’t physically cheated yet, the thoughts of at least wishing to do so are spilling over, which begs the analogy of “It’s like trying to hide a fire in the dark.” – LW

#317
She is Gone
Willie Nelson
1996  |  Peak: Did Not Chart

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As in his classic recording of “Blue Eyes Crying in the Rain”, Nelson’s sad remembrance of a lost love glows with unspoken warmth, as the beauty of his good memories shines through the outer layer of melancholy. – DM

#316
It Was
Chely Wright
1999  |  Peak: #11

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An ode to the nonsensical mess of emotions that accompany falling in love, just contradictory enough to make sense. – TS

#315
You Can Feel Bad
Patty Loveless
1995  |  Peak: #1

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As deft a take down of a departing lover there’s ever been.  Not since “You’re So Vain” has a jilted lover struck back so powerfully by simply holding up a mirror. – KC

#314
Till I Found You
Marty Stuart
1991  |  Peak: #12

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With a Roy Orbison feel, “Til I Found You” is a sweet declaration of finally finding the right one. – LW

#313
Blame it On Your Heart
Patty Loveless
1993 |  Peak: #1

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A shameless radio bid delivered with more power and charm than such bids generally deserve. – DM

#312
You Never Even Call Me By My Name
Doug Supernaw
1994 |  Peak: #60

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Presenting the perfect Country & Western song! This is a great David Allan Coe cover with some alterations, including the exclusion of a stanza (which does water down the song a bit), changes to the spoken part, and additions of some special guests. – LW

#311
Wine Into Water
T. Graham Brown
1998  |  Peak: #44

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A kneeling drunkard’s plea for the modern age.  A broken man struggling with his alcoholism asks Jesus to perform His first miracle in reverse. Brown’s rough and tumble voice is the best possible fit for this fine composition.- KC

#310
High Powered Love
Emmylou Harris
1993  |  Peak: #63

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The added punch to the production shows that Harris could do nineties country as well as anybody on the radio back then, which is quite the compliment, given who was getting airplay in 1993.  A perfect lament for a lover who won’t settle for skin deep treasures, she wonders, “Is there anyone left with teeth just a little uneven? Who won’t spend more time with a mirror than he does with me?” – KC

#309
You Won’t Ever Be Lonely
Andy Griggs
1998  |  Peak: #2

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Griggs creates a touching ballad out of one of the sweetest, simplest promises that comes with making a commitment to someone – that no matter the storm outside, you’ll never have to face it alone. – TS

#308
A Door
Aaron Tippin
1997  |  Peak: #65

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Instead of serving as a means to shut the other person out, the door that Tippin is suggesting is for the purpose of letting the other person in. “a door ain’t nothin’ but a way to get through a wall”, he sings. If they work together to create it, then they might be able to walk through it to meet each other halfway. – LW

#307
Someday Soon
Suzy Bogguss
1991  |  Peak: #12

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Suzy Bogguss takes this Ian Tyson cowboy folk song and makes it her own. She successfully breathes emotion into this wistful song that, once again, pits woman against rodeo. – LW

#306
The River
Garth Brooks
1992  |  Peak: #1

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Built on a poignantly written metaphor, “The River” gracefully weaves together elements of faith, inspiration and motivation. It’s a masterful single, from its poetic lyrics to its beautifully simplistic arrangement, but the heart and soul is Brooks’ gripping conviction – quiet yet fierce. On a personal note, this song contains one of my all-time favorite lyrics that I often revisit: “So don’t you sit upon the shoreline and say you’re satisfied/Choose to chance the rapids and dare to dance the tide.” – TS

#305
Time Passes By
Kathy Mattea
1991  |  Peak: #7

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Blessings are fleeting, and they’re best appreciated in the moment. It’s far more satisfying to celebrate them without the bittersweet tinge of regret. – KC

#304
You Can’t Stop Love
Marty Stuart
1996  |  Peak: #26

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To hear Marty Stuart tell it, there’s nothing more powerful than love. No matter what you do, you can’t stop it. True enough. – LW

#303
Everywhere
Tim McGraw
1997  |  Peak: #1

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McGraw’s character leaves behind a lifelong love interest and a little home town to explore the world. But instead of getting good closure, the poor guy starts seeing the girl he left in every place he visits, even long after she has married and had children. That these visions could feasibly represent both unresolved romantic feelings and the inescapable imprint of one’s roots is just country-delicious. – DM

#302
You’re Beginning to Get to Me
Clay Walker
1998  |  Peak: #2

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Walker’s falling head first for a girl, but he isn’t ready to take the plunge with the L-word just yet. In his catalogue of fabulous 90s hits, this understated “love” song gets overshadowed by some of the more distinct ones, but it’s nonetheless memorable. – TS

#301
Help Me Hold On
Travis Tritt
1990  |  Peak: #1

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Travis Tritt is one of few country artists who is as known for his rocking side as he is for being a strong balladeer. “Help Me Hold on” is a plea to his lover to help him salvage what’s left of their relationship, which doesn’t seem to be much, since she’s already packing a suitcase. – LW

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Songs For Dad

My dad was passionate about many things, and in my memory, he’s defined by two of them: c0llecting vintage toys and loving music.   Earlier today, my mother and I attended Toy Story 3.  He loved the first two films, and it was a way to get closer to him in spirit this Father’s Day.

I couldn’t let this day end without using my humble little corner of the internet to celebrate some of his favorite songs.  A love for country music was something that my father shared with my mother, and thanks to long car trips as  child, this love eventually rubbed off on me.  This morning, my mother put on the country classics Music Choice channel and it was playing their song: “Blanket on the Ground” by Billie Jo Spears.

It’s one of those songs that always seemed to be on the mix tapes that my parents listened to.  But there are a wealth of country hits that I associate with just Dad.  Some of them I always loved. Some of them I didn’t care for at the time. Some I openly disdained and wished he’d never play again.  All of them are now among my favorites because they remind me of him.

So in honor of Father’s Day, here are some of my Dad’s favorite country songs.  Share your dad’s favorites in the comments!

Alan Jackson, “Livin’ On Love”

From my mom’s point of view, K.T. Oslin’s “Hold Me” perfectly encapsulated their marriage.  For my dad, it was “Livin’ On Love.”

Clint Black, “Nobody’s Home”

My dad loved Clint Black, especially his first two albums.  This was the hit he played to death when Killin’ Time was his album of choice.

Johnny Cash, “(Ghost) Riders in the Sky”

Sure, my dad loved “Sunday Morning Coming Down” and “Five Feet High and Rising.” But he also loved Cash’s campier hits, like “One Piece at a Time” and this chestnut.

Dixie Chicks, “Travelin’ Soldier”

No matter what was going on in the room, my dad would stop what he was doing to watch this video.  As a Navy veteran, this song really hit home for him.

Dwight Yoakam, “A Thousand Miles From Nowhere”

Another guy that Dad couldn’t get enough of.  This was a song that I thought he played too much, never caring for it at the time. Now it’s one of my favorites of his.

John Anderson, “Seminole Wind”

He bought the album for “Straight Tequila Night”, but this quickly emerged as one of his all-time favorite songs.

John Conlee, “Common Man”

I do believe that I’d never have discovered this great vocalist if his greatest hits set wasn’t one of the very first CDs my father purchased. I still remember the “Priceless Music Priced Less” logo on the front.

Johnny Horton, “Sink the Bismarck”

Another hits collection dad played the heck out of. I always thought this was Horton’s biggest hit because Dad played it so much. I remember being shocked to find “Honky Tonk Man”, which I knew as a Dwight Yoakam song, was on there, too.

Kenny Rogers, “The Gambler”

He didn’t care for the man’s love songs or most of his pop hits, but he had this album on vinyl and I only remember hearing him play the title track.

Willie Nelson & Merle Haggard, “Pancho and Lefty”

Another one of Dad’s first CD purchases. I always thought the opening music sounded like a TV theme song.

Marty Robbins, “Big Iron”

Dad loved the Western subgenre of country music, at least as performed by Marty Robbins.

And finally, it’s not a country song, but it was his favorite song, and I’ll forever associate it with him. Amazing how I used to groan when I heard him playing it on our living room jukebox again, and now I never get tired of it because it’s him.

The Beach Boys, “Sloop John B.”

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iPod Check: Hidden Treasures

This edition of iPod Check is all about those great songs that you love which aren’t that well known.  Put your iPod or favorite playlist on shuffle, then list the first ten songs that come up which weren’t singles or widely heard album cuts.

Bonus  points for a little blurb with each song!

My list is after the jump.

1. Shania Twain, “Whatever You Do! Don’t!”

Only four of the sixteen tracks from Come On Over weren’t released as singles for one market or another.  It features the creative use of fiddles that would become so prominent on Up!

2. Todd Snider, “Maybe You Heard”

From the Kris Kristofferson tribute album The Pilgrim, it’s a powerful challenge to friends who aren’t friends in need: “Don’t you condemn him. Leave it to strangers.  You oughta know to give him a hand if you can.”

3.  Bonnie Tyler, “Have You Ever Seen the Rain”

Creedence Clearwater Revival as arranged by Jim Steinman?  As the opener of the album that features “Total Eclipse of the Heart”, it’s surprisingly effective.

4. Willie Nelson, “Rainbow Connection”

A lot of his covers don’t work – “Time After Time”, anyone?  But this one does, taking a Kermit the Frog standard and elevating it to the league of “Imagine.”

5. Bruce Robison, “Can’t Get There From Here”

Why Tim McGraw or Keith Urban haven’t covered this yet is beyond me: “I’m on a road that’s going nowhere, looking for a place that I belong. The wind’s pushing me in all directions, and none of them look like home.”

6.  Tim McGraw, “Tickin’ Away”

Time is running out, and not just because closing time is drawing near.

7. Johnny Cash, “I See a Darkness”

This time the friend in need is there, but that’s not enough to halt his desperation from spiraling out of control.

8. Lorrie Morgan, “Greater Need”

“It seems like I want you around me a little more than you want to be, so I guess I’m the one with a greater need.”  Killer.

9. Joe Diffie, “Good Brown Gravy”

They didn’t call him Joe Ditty for nothing.  But this one’s a riot!

10. Madonna, “‘Til Death Do Us Part”

From her post-divorce classic Like a Prayer, this is one of the most nakedly revealing songs I’ve heard.  “The bruises they will fade away. You hit so hard with the things you say. I will not stay to watch your hate as it grows. You’re not in love with someone else. You don’t even love yourself. Still, I wish you’d ask me not to go.

What are your ten hidden treasures?

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ACM Flashback: Single Record of the Year

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

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

2010

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

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

2009

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

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

2008

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

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

2007

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

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

2006

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

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

2005

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

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

2004

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

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

2003

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

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

2002

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

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

2001

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

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

2000

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

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

1999

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

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

1998

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

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

1997

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

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

1996

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

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

1995

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

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

1994

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

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

1993

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

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

1992

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

This was Jackson’s first major industry award.

1991

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

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

1990

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

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

1989

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

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

1988

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

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

1987

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

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

1986

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

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

1985

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

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

1984

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

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

1983

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

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

1982

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

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

1981

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

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

1980

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

West Coast represent!

1979

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

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

1978

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

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

1977

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

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

1976

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

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

1975

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

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

1974

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

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

1973

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

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

1972

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

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

1971

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

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

1970

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

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

1969

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

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

1968

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

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

Facts & Feats:

Most Wins

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

Most Nominations

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

Most Nominations Without a Win

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

Singles that Won Both the ACM and CMA Award:

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

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