Alan Jackson – Page 24 – Country Universe

The 201 Greatest Singles of the Decade, Part 7: #80-#61

December 21, 2009 Dan Milliken 17

The 201 Greatest Singles of the Decade, Part 7: #80-#61

#80
“When Somebody Loves You”
Alan Jackson
2001
Peak: #5

A treasure of a love song. Contrasted stunningly with modest accompaniment and vocals, the song’s message is that of love’s sublime ability to transform one’s life and bring light to dark. – Tara Seetharam

#79
“Separate Ways”
Rick Trevino
2007
Peak: #59

“Separate Ways” is an instructive narrative of a couple who did everything together, but “the last thing they did together was go their separate ways.” Fortunately, the song’s narrator learns from his parents’ divorce and wisely applies its valuable lesson to his own relationship. – Leeann Ward

The 201 Greatest Singles of the Decade, Part 3: #160-#141

December 16, 2009 Dan Milliken 17

The 201 Greatest Singles of the Decade, Part 3: #160-#141

#160
“Last Call”
Lee Ann Womack
2008
Peak: #14

Womack’s second-best Aughts song about late-night temptations is still better than a lot of people’s first-best songs about anything. Even in avoiding her drunken ex’s advances, she sounds positively heartbroken, suggesting she’d gladly make the other decision if she didn’t know better. – Dan Milliken

159 Shania Up

#159
“She’s Not Just a Pretty Face”
Shania Twain
2003
Peak: #9

Her motivation for her music has always been escapism, but I love the personal touch she slips into this one. Her late mother is the one who she’s referring to when she sings “at night, she pumps gasoline.” – Kevin Coyne

The 100 Greatest Albums of the Decade, Part 5: #60-#51

December 4, 2009 Kevin John Coyne 16

The 100 Greatest Albums of the Decade, Part 5

#60
Bruce Robison, Country Sunshine

One of modern country’s little-known heroes, Robison has built a career on simple songs of unusually strong focus, voice and insight. His strongest collection of this decade mainly explores love at its point of disenchantment, with characters sitting at various fallouts pondering who’s to blame, who used who, or why the feelings aren’t requited. Not so much Sunshine, then, but quite a bit of Country. – Dan Milliken

Recommended Tracks: “Friendless Marriage”, “What Would Willie Do”, “Tonight”

#59
Rascal Flatts, Feels Like Today

The group has yet to hit the nail on the “Rascal Flatts” head again like they did with this country-pop album – a collection of powerful, melody-driven songs on which Gary LeVox manages to tastefully reign in his tenor. When paired with the right material, the Flatts boys can emote like it’s nobody’s business, resulting in soaring, genuine performances. – Tara Seetharam

Age Ain’t Nothin’ But a Number

November 9, 2009 Kevin John Coyne 24

george-strait1 While Taylor Swift mania continues to grow, there’s another impressive accomplishment being achieved by two veterans of country music on the opposite end of the age spectrum.

Contrary to what is commonly believed, there has always been a ceiling on how old you could be and still get country airplay. This year, both George Strait and Reba McEntire have been working steadily to shatter that ceiling.

Take a look at the age of country legends when they earned their most recent top ten solo hit:

The Worst Singles of the Decade, Part 5: #10-#1

November 1, 2009 Kevin John Coyne 79

The Worst Singles of the Decade, Part 5: #10-#1

#10
Alan Jackson, “www.memory”

Wasn’t there anyone who could tell him that this wasn’t going to work? It’s a terribly awkward effort to force a classic concept into a current framework. (See also: Lorrie Morgan, “1-800-Used-To-Be”)

#9
Reba McEntire & Kelly Clarkson, “Because of You”

This could’ve been great. Two great singers, one great song. The fatal flaw is that it just doesn’t work as a duet. The lyrics don’t make sense when it’s two people singing to each other.

#8
Lonestar, “Mr. Mom”

Mr.Mom was the first movie that I saw in theaters. Back then, the concept of a stay-at-home Dad was novel. By the time this song rolled around, it was hard to even take the conceit of the song seriously. This guy’s not struggling because he’s a guy. He’s struggling because he’s a bumbling fool.

Billy Currington, “That’s How Country Boys Roll”

September 15, 2009 Tara Seetharam 21

BillyCurrington It’s always disappointing when a good song is tainted by mundane lyrics, and I fear that’s the case with “That’s How Country Boys Roll.” Like most of Currington’s singles, the song –lyrics aside– is charming and endearing, and the vocal performance rich and distinct.

But we come away from the song learning what, exactly, about country boys? That they like fishing, suped up cars and working real hard? Granted, there are a few deeper messages in the mix, but none are expressive enough to actually paint a picture of a multi-dimensional country boy.

A Conversation with Katie Cook

August 21, 2009 Tara Seetharam 7

Katie Cook has been a staple on Country Music Television since 2002, hosting various series and specials such as CMT Most Wanted Live, the MWL concert series, MWL Star, MWL Stacked and the popular weekly entertainment magazine show, CMT Insider.

But her experience with country music is actually three-fold: along with being embedded in the industry as a television host and interviewer, she’s also the daughter of Nashville Songwriters Hall of Fame member Roger Cook, and she’s both a singer and songwriter herself – she released an album in 2000 as part of a band called Reno and continues to hone her songwriting skills. Cook took some time to share with Country Universe her opinions on the state of country music, the evolution of CMT and her recent White House visit, among other topics.

Producing the CMAs

August 19, 2009 Guest Contributor 12

This is a guest contribution by regular commenter, Michael Hawkins, who posts as Highwayman3.

The movies have the Oscars, the world of music has the Grammys, and that world subdivided into the country genre has the CM’s—the annual extravaganza that we fans look forward to every year. We see our favorites perform, win awards and lose with smiling gracious faces, or not [insert the inevitable Faith Hill reference here]. Everyone picks their favorites in each category as to who they’d like to win. But what about the show itself, the backdrop for which these prestigious awards are presented?

Recently, there have been posts at both The 9513 and on this site where people have been weighing in on their favorite moments from these awards. It occurred to me that none of those moments have happened in the last few years. The awards have slid into mediocrity, which is a fitting representation of the current state of country music. I understand producing these awards must be tough because you have to be everything to everyone, and acknowledge the traditional country, the Disney country, the old and new alike, and bring in people who don’t belong for the sake of ratings.

Alan Jackson, “I Still Like Bologna”

July 27, 2009 Dan Milliken 14

Jeez, talk about your “Good Artists Gone Bad.” Alan Jackson’s latest manages to take two things I really like – honky-tonk music and silly song titles – and make them seem duller than a bad Learn-To-Type program.

It’s almost the kind of song Tim McGraw’s “Back When” once poked fun at, actually, except the subject matter here is the progression of technology, and this doesn’t even feel like enough of an effort to warrant spoofing. I mean, there’s not much to say about a song whose first three minutes basically break down to, “I kind of like my plasma T.V….but also, I kind of like whippoorwills.”

Picking the CMA Nominees: Male Vocalist of the Year

July 26, 2009 Kevin John Coyne 21

The past two decades have only brought eight winners in the CMA Male Vocalist race, with only two of them – Toby Keith and Clint Black – winning only once. Compare this to the Female Vocalist race, which has brought twelve winners during the same time frame, though even that race has become more streaky of late, with Martina McBride and Carrie Underwood combining for seven victories in the past eleven years.

Is it time for an overhaul in the Male Vocalist race? Yes and no. There’s no denying that some of the multiple nominees/winners over the past nineteen years remain the genre’s strongest male voices. Still, there’s room for some others at the table. The problem is that there are so very few of the genre’s male artists that are genuinely at the top of their game. Even most of the men listed below have had weak singles this year.

Still, if I picked the five nominees for the 2009 CMA Male Vocalist of the Year, they would be:

Jamey Johnson

If Johnson earns fewer less than five nominations at this year’s CMA Awards, I’ll be shocked. In fact, I think he’ll earn six, with the surprise nomination being in this category. These aren’t predictions, though, so I’ll state that while I’m not particularly a fan of Johnson, his success at retail with a traditional project that has only received airplay for one single is darn impressive. Along with Brad Paisley, he’s one of only two artists I’ve listed that were determined by genuine merit, not process of elimination.

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