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2011 CMA Awards: Staff Picks and Predictions

November 7, 2011 Ben Foster 28

It’s that time of year again! The time when we all dutifully tune in to the CMA Awards show, raise our eyebrows at the “What the heck are they doing here?” award presenters, and afterwards complain about how totally un-country the whole show was. I don’t know about the rest of you, but I can’t wait.

We’re pleased to share the Country Universe staff picks for this year’s CMA Awards, as well as our predictions of who the winners will be. This year we have some highly competitive categories in which predicting the winners is quite difficult, leading to some significantly divergent picks among our writing staff. Agree? Disagree? Join in the discussion in the comment thread below, and let us know.

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Single Review: Eric Church, “Drink in My Hand”

August 28, 2011 Dan Milliken 6

This rocks – and, in its own way, countries – harder than anything else out there. Church navigates it with the ease of a NASCAR driver on a suburban highway, weaving and bobbing so charismatically that Luke, Blake and Dierks start to seem like uptight party-poopers by comparison. You believe him on multiple levels when he hollers that he’s “about to tear a new one in this old town.”

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Album Review: Eric Church, Chief

July 24, 2011 Sam Gazdziak 32

Eric Church

Chief

On his new album, Eric Church sings that we need “Some longhaired hippie prophet preaching from the book of Johnny Cash/A sheep among the wolves there standing tall/We need a country music Jesus to come and save us all.”

Bear in mind that he’s singing these lines on an album loaded with distorted vocals and sound effects, guitar solos closer to Three Doors Down than Cash, and a song about Bruce Springsteen.

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Single Review: Eric Church, “Homeboy”

February 17, 2011 Kevin John Coyne 31

Talk about a missed opportunity.

“Homeboy” is an impassioned plea for a small town boy to reject the forces that are leading him down a path of no return, one where family is rejected, values are corrupted, and incarceration is likely the end of the road.

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Crunching the Numbers: January 2011

January 27, 2011 Kevin John Coyne 55

Feel that chill in the air? It’s not just climate change, friends. The music industry is suffering through historic lows in record sales, the worst since SoundScan started tallying them in 1991.

How are country artists faring? Let’s take a look at cumulative sales for current albums. Sales are rounded to the nearest hundred.

Top Selling Current Country Albums

  1. Taylor Swift, Fearless: 6,233,900
  2. Taylor Swift, Taylor Swift: 4,955,000
  3. Lady Antebellum, Need You Now: 3,138,700
  4. Taylor Swift, Speak Now: 3,078,600
  5. Zac Brown Band, The Foundation: 2,489,200
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The Best Singles of 2010, Part 4: #10-#1

December 23, 2010 Kevin John Coyne 61

Our look back at the year’s best singles comes to a close, with unprecedented CU consensus at the top of the list. The top two singles of the year were ranked in that order by three of our four writers, and both appeared in the top ten of the fourth writer.

Here’s our ten best of 2010:

The Best Singles of 2010, Part 4: #10-#1

#10

Draw Me a Map
Dierks Bentley

Bentley is getting a lot of deserved attention for sonically diverging from the mainstream to create a bluegrass inspired album. It’s an excellent album, but to his credit “Draw Me A Map” isn’t so far removed from some of the unreleased songs on his first two mainstream projects; It’s just that he gets to shine a finer focus on it for this album, therefore, this seemingly subversive song for radio gets to be released. The inspired blend of Bentley’s ragged voice with Alison Krauss’ angelic voice takes the song to an even sweeter level. – Leeann Ward

#9

Broken
Chely Wright

Robert Louis Stevenson once remarked that “Hope lives on ignorance; open-eyed Faith is built upon a knowledge of our life, of the tyranny of circumstance and the frailty of human resolution.” He was talking, in context, about marriage. The truth is that no one enters a relationship completely free of burden, and only by submitting to the complications of that truth can we avoid being ruled by them. Wright, for her part, manages the task with simple, earnest grace, probably strengthening her relationship through mere acknowledgment of its inherent weakness. – Dan Milliken

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Twenty Minutes With Country Radio

July 25, 2010 Kevin John Coyne 35

Radio has never been my primary way of receiving country music. Growing up in NYC, we had a decent country station in 103.5 WYNY. But 24-hour CMT was better, back in the days when it played everything from the hot new artists to the legends to Canadian imports in roughly equal rotation. By the time that the station folded, I was heading to Nashville and attending college. By the time I was back to NYC, the internet had replaced the video outlets as my preferred method of discovering new music.

But radio is the way most country fans have discovered new music for generations now. So why not give it another try? Normally, I wouldn’t, but as we began an overnight drive up the east coast, I was growing weary of the easy listening station that was on. Air Supply will do that to you. So I went up to the next station, and the radio displayed that it was a country station.

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Montgomery Gentry, “Long Line of Losers”

June 10, 2009 Dan Milliken 11

What do you know? Coming off of their invitation to join the Grand Ole Opry, Montgomery Gentry release their most country-sounding single in some time. The sound is a nice blend of Alabama, Hank Jr., and 70’s folk-rock, with a chorus ready-made for barroom singalongs and a colorful set of dobro fills.

It’s a credit to the songwriting that it manages to breathe life into a fairly tired theme. This whole “I’m proud of my broken family, gosh darn it” shtick has been done a good deal in recent years, and it’s been done well, with tracks like LeAnn Rimes’ “Family” and Eric Church’s “Sinners Like Me” providing some of the most memorable moments in those artists’ catalogs.

As with those examples, what elevates Montgomery Gentry’s take on the idea is its candor. Rather than try to falsely glamorize the relatives’ imperfections, as so many would-be Redneck Anthems would do, this song just throws them all out on the table, acknowledging them as they really are – not necessarily desirable, yet inescapable. Granted, the family does sound a little bit sensationalized, but the details are at least interesting enough to warrant a momentary suspension of disbelief.

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