Predictions for the 48th annual ACM Awards

Now that we’ve turned the clocks forward an hour and our calendars from March to April, it’s time to turn our attention to Las Vegas and the annual Academy of Country Music Awards telecast. CBS is carrying the show live Sunday Night (April 7) and it promises to be an eclectic mix of mainstream country music; hosted by Blake Shelton and Luke Bryan. Look for Tim McGraw to sing his latest “Highway Don’t Care” with Taylor Swift and Keith Urban, while Jason Aldean is rumored to be involving Joe Diffie in his performance of “1994.” Kelly Clarkson will be singing “Don’t Rush” and Bryan plans to debut a new single, “Crash My Party.” But I’m most excited to see what promises to be a buzzed about moment – Garth Brooks and George Strait collaborating for the first time to pay tribute to show producer Dick Clark.

Here are the nominees and predictions:

Entertainer of the Year

· Jason Aldean

· Luke Bryan

· Miranda Lambert

· Blake Shelton

· Taylor Swift - Jonathan Pappalardo 

As a fan voted award, the logic would be on Taylor Swift to take this home. And while she’s the likely winner, I’m wondering if Blake Shelton’s Voice popularity may propel him to the podium instead. There has to be a chance someone besides Swift could take this home, right? Well, I’m not betting on it, but Shelton seems the most likely one to do it.

Male Vocalist of the Year

· Jason Aldean

· Luke Bryan

· Eric Church

· Toby Keith

· Blake Shelton - Jonathan Pappalardo 

It’s nice to see Keith sneak in a nod here, as he’s still a gifted vocalist and “Hope On The Rocks” proves it. Aldean is just too weak a singer to make much of a significant impact and I can’t see the Academy embracing Church. So this as a two-way race between show co-hosts Shelton and Bryan, and I only see the ACM awarding it to Bryan if they want to shake it up. But they may see him as an eventual winner (like after he releases his next album) and go with Shelton again.

Female Vocalist of the Year

· Miranda Lambert - Jonathan Pappalardo 

· Martina McBride

· Kacey Musgraves

· Taylor Swift

· Carrie Underwood

While I would love to see Musgraves take this home, she’s too new for such a prestigious honor. McBride’s a broken record at this point – she hasn’t had an impactful hit single in years and while Underwood is releasing some of the most ambitious songs of her career, she’ll likely be seen as old hat by this point. This is Lambert’s award to lose and Swift’s dominance in a completely different genre market isn’t going to change that.

Vocal Duo of the Year

· Big & Rich

· Florida Georgia Line

· Love and Theft

· Sugarland

· Thompson Square - Jonathan Pappalardo 

If Florida Georgia Line wins this award, I’m done. “Cruise” may’ve been one of the biggest hits of last year, but popularity hardly denotes quality. Thompson Square should repeat here and even though they aren’t as strong as they could be, they’re the best of this bunch outside of Sugarland.

Vocal Group of the Year

· The Band Perry

· Eli Young Band

· Lady Antebellum

· Little Big Town - Jonathan Pappalardo 

· Zac Brown Band

After their come out of nowhere Grammy win in February, Little Big Town are the darlings of Nashville and that will continue with a win here. Their success is long overdue, as is a win in this category. Zac Brown Band and The Band Perry can have fun duking it out for second place.

New Artist of the Year

· Florida Georgia Line - Jonathan Pappalardo 

· Brantley Gilbert

· Jana Kramer

This is really a toss up. Any of these three could win although Kramer has proven the most country minded of the nominees. She’s my favorite, but I’m not counting out Florida Georgia Line. It’s another fan voted award and “Cruise” is insanely popular.

Album of the Year [Award goes to Artist(s)/Producer(s)/Record Company]

· Blown Away – Carrie Underwood (19/Arista Nashville), Produced by: Mark Bright

· Chief – Eric Church (EMI-Nashville), Produced by: Jay Joyce

· Red – Taylor Swift (Big Machine Records), Produced by: Jeff Bhasker, Nathan Chapman, Dann Huff, Jacknife Lee, Max Martin, Shellback, Taylor Swift, Butch Walker, Dan Wilson

· Tailgates & Tanlines – Luke Bryan (Capitol Nashville), Produced by: Mark Bright, Jeff Stevens

· Tornado – Little Big Town (Capitol Nashville), Produced by: Jay Joyce - Jonathan Pappalardo 

A good list of mainstream albums. Chief would seem the frontrunner since it already won the CMA Award, but this is the first race to include Little Big Town’s superstar making set. I’m going out on a limb and say Tornado will take this home.

Single Record of the Year [Award to Artist(s)/Producer(s)/Record Company]

· “Even If It Breaks Your Heart” – Eli Young Band (Republic Nashville), Produced by: Mike Wrucke

· “Over You” – Miranda Lambert (RCA), Produced by: Chuck Ainlay, Frank Liddell, Glenn Worf

· “Pontoon” – Little Big Town (Capitol Nashville), Produced by: Jay Joyce - Jonathan Pappalardo 

· “Springsteen” – Eric Church (EMI-Nashville), Produced by: Jay Joyce

· “Wanted” – Hunter Hayes (Atlantic/WMN), Produced by: Hunter Hayes, Dann Huff

“Pontoon.” It won the CMA, a Grammy, and reversed the fortunes of a band too talented for the oblivion it was heading for. There’s no way they’ll lose, but if they do it’ll go to Hayes and his sophomore single “Wanted.”

Song of the Year [Award to Composer(s)/Publisher(s)/Artist(s)]

· “A Woman Like You” – Lee Brice, Composers: Phil Barton, Johnny Bulford, Jon Stone, Publishers: 3JB Music (BMI), Adios Pantalones (SESAC), Hears That Skyline Music (SESAC), Sixteen Stars Music (BMI), Warner-Tamerlane Publishing Corp. (BMI)

· “Even If It Breaks Your Heart” – Eli Young Band, Composers: Will Hoge, Eric Paslay, Publishers: Cal IV Songs (ASCAP), Will Hoge Music (BMI)

· “Over You” – Miranda Lambert, Composers: Miranda Lambert, Blake Shelton, Publishers: Pink Dog Publishing (BMI), Sony ATV/Tree Publishing (BMI) - Jonathan Pappalardo 

· “Springsteen” – Eric Church, Composers: Eric Church, Jeff Hyde, Ryan Tyndell, Publishers: Bug Music (BMI), Ole Purple Cape Music (BMI), Sinnerlina (BMI), Sony ATV/Tree Publishing (BMI)

· “Wanted” – Hunter Hayes, Composers: Hunter Hayes, Troy Verges, Publishers: Happy Little Man Publishing (BMI), Songs From The Engine Room (BMI), Songs Of Universal Inc. (BMI)

“Over You.” The ACM will follow in the footsteps of the CMA and bring Lambert and Shelton to the podium. Two genre superstars are just too hard to ignore. Their only competition, Kacey Musgraves’ ‘Merry Go ‘Round’ wasn’t even nominated, so I just don’t see anyone else taking this home.

Songwriter of the Year

· Rodney Clawson

· Dallas Davidson (Already won, off-camera award) 

· Josh Kear

· Luke Laird

· Shane McAnally

Davidson has already won; this is an off-camera award. But I would’ve gone with McAnally who seems to be on fire right now. His collaborations with Brandy Clark are killer.

Video of the Year [Award to Producer(s)/Director(s)/Artist(s)] *(Off Camera Award) [TIE]

·” Creepin’” – Eric Church, Producer: Iris Baker Director: Peter Zavadil - Jonathan Pappalardo 

· Merry Go ‘Round – Kacey Musgraves, Producers: Perry Bean, Kacey Musgraves Director: Perry Bean

· “Tornado” – Little Big Town, Producer: Iris Baker Director: Shane Drake

· “Wanted” – Hunter Hayes Producers: Stephanie Reeves, Eric Williams Directors: Traci Goudie, Patrick Hubik

· “We Are Never Ever Getting Back Together” – Taylor Swift, Producer: John Nguyen Director: Declan Whitebloom

· “The Wind” – Zac Brown Band, Producer: Ben Kalina Director: Mike Judge

Most of Zac Brown Band’s videos are distracting, with annoying concepts that take away from the song completely. “The Wind” is no exception. The Swift clip is awful and does nothing to portray her maturity and “Wanted” isn’t special enough to stand out from this pack. Church deserves this the most, as both the song and video for “Creepin’” are completely original. This is where he should get some much-deserved hardware. 

Vocal Event of the Year [Award to Artist(s)/Producer(s)/Record Company] *(Off Camera Award)

· “Don’t Rush” – Kelly Clarkson Featuring Vince Gill (19/RCA/Columbia Nashville) Produced by: Dann Huff

· “Easy” – Rascal Flatts Featuring Natasha Bedingfield (Big Machine Records) Produced by: Dann Huff, Brian Kennedy, Rascal Flatts

·”Feel Like a Rock Star” – Kenny Chesney (Duet With Tim McGraw) (Blue Chair/BNA) Produced by: Buddy Cannon, Kenny Chesney  – Jonathan Pappalardo 

· “Let It Rain” – David Nail Featuring Sarah Buxton (MCA Nashville) Produced by: Chuck Ainlay, Frank Liddell

· “The Only Way I Know” – Jason Aldean With Luke Bryan & Eric Church (Broken Bow) Produced by: Michael Knox

What a terrible, terrible bunch of songs that equate to nothing more than empty opportunistic pandering. The only worthwhile songs here are “Don’t Rush” and “Let It Rain” and they are hardly ‘events.’ I bet Chesney/McGraw will take this home but if it wasn’t an off-camera award, than I’d say Aldean/Bryan/Church. The latter would make for ratings gold on stage, but it would be a wasted opportunity off-camera. In truth, though, I couldn’t care less about these nominees if I tried.

Week ending 12/15/12: #1 singles this week in country music history

1952: Jambalaya (On The Bayou) — Hank Williams (MGM)

1962: I’ve Been Everywhere — Hank Snow (RCA)

1972: Got The All Overs For You (All Over Me) — Freddie Hart & the Heartbeats (Capitol)

1982: Redneck Girl — The Bellamy Brothers (Elektra/Curb)

1992: I Cross My Heart — George Strait (MCA)

2002: These Days — Rascal Flatts (Lyric Street)

2012: We Are Never Ever Getting Back Together — Taylor Swift (Big Machine)

2012 (Airplay): Cruise – Florida Georgia Line (Republic Nashville)

Week ending 12/8/12: #1 singles this week in country music history

1952: Back Street Affair — Webb Pierce (Decca)

1962: Mama Sang a Song — Bill Anderson (Decca)

1972: She’s Too Good To Be True — Charley Pride (RCA)

1982: You and I — Eddie Rabbitt with Crystal Gayle (Elektra)

1992: I Cross My Heart — George Strait (MCA)

2002: These Days — Rascal Flatts (Lyric Street)

2012: We Are Never Ever Getting Back Together — Taylor Swift (Big Machine)

2012 (Airplay): The One That Got Away — Jake Owen (RCA)

Week ending 12/1/12: #1 singles this week in country music history

1952: Jambalaya (On The Bayou) — Hank Williams (MGM)

1962: Mama Sang a Song — Bill Anderson (Decca)

1972: She’s Too Good To Be True — Charley Pride (RCA)

1982: It Ain’t Easy Bein’ Easy — Janie Fricke (Columbia)

1992: I’m In A Hurry (And Don’t Know Why) — Alabama (RCA)

2002: These Days — Rascal Flatts (Lyric Street)

2012: We Are Never Ever Getting Back Together — Taylor Swift (Big Machine)

2012 (Airplay): Kiss Tomorrow Goodbye — Luke Bryan (Capitol)

Week ending 11/17/12: #1 albums this week in country music history

1967: Eddy Arnold – Turn The World Around (RCA)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Elvis In Concert (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Rascal Flatts – Melt (Lyric Street)

2007: The Eagles – Long Road Out Of Eden (Lost Highway)

2012: Taylor Swift – Red (Big Machine)

Week ending 11/3/12: #1 albums this week in country music history

1967: Buck Owens and His Buckaroos – Your Tender Loving Care (Capitol)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Moody Blue (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Faith Hill – Cry (Warner Brothers)

2007: Rascal Flatts – Still Feels Good (Lyric Street)

2012: Little Big Town – Tornado (Capitol)

Week ending 10/27/12: #1 albums this week in country music history

1967: Bobbie Gentry – Ode To Biliie Joe (Capitol)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Moody Blue (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Elvis Presley- 30 #1 Hits (RCA)

2007: Rascal Flatts- Still Feels Good (Lyric Street)

2012: Little Big Town – Tornado (Capitol)

2012 CMA Awards: our predictions

The 46th annual Country Music Association annual awards ceremony will take place on November 1, 2012 at Nashville’s Bridgestone Arena. The show will air live on ABC television again this year and is presented by the pairing of Brad Paisley and Carrie Underwood, who will take over hosting duties for the fifth consecutive year. Eric Church and his massive hit “Springsteen” lead the list of nominees, with Miranda Lambert and Blake Shelton close behind him.

On awards night, look for a musical tribute to Willie Nelson and The Band Perry to debut the first taste of their Rick Rubin produced sophomore album. There’s also talk that Female Vocalist nominee Kelly Clarkson will debut “Don’t Rush” on the telecast, a duet with Vince Gill featured from her Greatest Hits, Chapter One album in stores Nov. 19. Also look forward to a duet from Tim McGraw and Faith Hill (which I’ve heard is during the Nelson tribute), and solo performances from each.

Entertainer of the Year

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift - Jonathan Pappalardo, J.R. Journey

The usual solid yet unspectacular group. Carrie Underwood fans are likely fuming at yet another snub, while everyone else will bark at the inclusion of Swift, a two-time winner and the incumbent, for her increasing lack of country credibility. But Aldean is the nominee to watch, as his recent stadium tour announcement will likely endear him to voters in the years to come.

Jonathan Pappalardo: I’ll bet on the safest choice this time around and say Taylor Swift is going to win. Chesney may have had the biggest tour, and Aldean is on fire right now, but Swift has the lock on this category.

J.R. Journey: Taylor Swift now not only represents about one-fourth of the total United States GDP, she also hawks makeup, perfume, and shoes on the side. And she just had the #1 song in 12 countries. I say Swift is most likely to succeed on CMA night.

Female Vocalist of the Year

Kelly Clarkson
Miranda Lambert - Jonathan Pappalardo
Martina McBride
Taylor Swift - J.R. Journey
Carrie Underwood

Kelly Clarkson, really? She did score a #21 hit with the country version of “Mr. Know It All” so her nomination is somewhat, albeit very marginally, justified. She has yet to fully embrace a career in country music. McBride is a snoozer scoring her 14th consecutive nomination and 15th overall as her career takes a downward spiral. See, this is what happens when all the great female artists of late (Kimberly Perry, Jennifer Nettles, Shawna Thompson) are members of duos and groups.

Jonathan Pappalardo: While I’d love to see this award go to Clarkson (to tick off the industry if nothing else), she’s a pop singer who’s done a bang up job covering country songs in concert. That’s about it. Miranda Lambert, meanwhile, is the biggest star in country music right now that actually looks and sounds country. And her intuition to form the Pistol Annies proves she’s not afraid to take creative risks. Its her award to lose, and I don’t foresee that happening.

J.R. Journey: Taylor Swift is the likely winner here for pretty much the same reasons she’ll win Entertainer of the year. Miranda Lambert’s new solo music is way below her usual standards this year and I think Carrie Underwood’s dog already had its day in this category, so I don’t see voters leaning toward either of them. 

Male Vocalist of the Year

Jason Aldean
Luke Bryan
Eric Church
Blake Shelton - Jonathan Pappalardo, J.R. Journey
Keith Urban

Another somewhat standard list until you take into account Urban is here in place of red-hot Dierks Bentley. Bentley’s exclusion, which comes on the heels of three back-to-back #1 hits is shocking. Urban should be joining Brad Paisley and been made to sit this one out this year.

Jonathan Pappalardo:  There’s seemingly no stopping Blake Shelton right now despite one mediocre single after another. He’s the biggest star here next to Jason Aldean and the all around better vocalist. He’ll sail to his third straight win no problem.

J.R. Journey: Blake Shelton is coming off two consecutive wins here and his visibility remains higher than Aldean’s, the next closest competitor. Long shots for the win Luke Bryan and Eric Church are still newcomers and first time nominees leaving Keith Urban the longest shot “veteran” slot. For my money, Shelton will repeat a third time here.

Week ending 10/20/12: #1 albums this week in country music history

1967: Bobbie Gentry – Ode To Biliie Joe (Capitol)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Moody Blue (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Elvis Presley- 30 #1 Hits (RCA)

2007: Rascal Flatts- Still Feels Good (Lyric Street)

2012: Little Big Town – Tornado (Capitol)

Week ending 10/13/12: #1 albums this week in country music history

1967: Bobbie Gentry – Ode To Biliie Joe (Capitol)

1972: Charley Pride – A Sunshiny Day (RCA Victor)

1977: Elvis Presley – Moody Blue (RCA)

1982: Willie Nelson – Always On My Mind (Columbia)

1987: Randy Travis – Always & Forever (Warner Brothers)

1992: Garth Brooks – The Chase (Capitol)

1997: LeAnn Rimes – You Light Up My Life: Inspirational Songs (Curb)

2002: Elvis Presley- 30 #1 Hits (RCA)

2007: Rascal Flatts- Still Feels Good (Lyric Street)

2012: Little Big Town – Tornado (Capitol)

Week ending 5/12/12: #1 singles this week in country music history

1952: The Wild Side of Life — Hank Thompson (Capitol)

1962: Charlie’s Shoes — Billy Walker (Columbia)

1972: Chantilly Lace — Jerry Lee Lewis (Mercury)

1982: Always On My Mind — Willie Nelson (Columbia)

1992: Neon Moon — Brooks & Dunn (Arista)

2002: My List — Toby Keith (DreamWorks Nashville)

2012: Banjo – Rascal Flatts (Big Machine)

Single Review – Zac Brown Band – ‘No Hurry’

In the ongoing battle for group supremacy in country music, Zac Brown Band should win every battle. I love their tendency to stick to a more traditional sound and sing songs that aren’t riddled with clichés. They’re a much-needed breath of fresh air to offset the watered down sound of Lady Antebellum and the pretty boy flare of Rascal Flatts. Plus, as entertainers and musicians, there is hardly a better mainstream country act around.

But as more and more singles keep getting released and hitting #1 (“Keep Me In Mind” marked their seventh consecutive trip to the top and eighth overall), I’ve noticed the freshness of their sound has settled somewhere around routine. When you’ve set the bar as high as they have, it’s difficult to continue to show growth when you’re just consistently great.

But like any great act, there’s bound to be some missteps along the way. For the fifth single from the band’s latest album You Get What You Give, “No Hurry” is a bit of a let down. For all the outstanding album cuts (I’m looking at you “Let It Go” and “Martin”) on the project, I’m baffled this one will have its day at radio in place of some truly excellent songs.

Co-written by Zac Brown with James Otto and Wyatt Durrette, “No Hurry” is basically a laundry list of items the protagonist needs to accomplish but isn’t in a rush to complete:

You know my old car needs washing

And the front yard needs a trim

And the telephone keeps ringing

And the bossman knows I know its him

And the bills ain’t gonna pay themselves

No matter anyway

Cause I ain’t in no hurry today

Here’s the problem – these aren’t a particularly attention grabbing list of items to sing about. List songs are the hardest to sell because if they’re not exciting, there ceases to be a point. And “No Hurry” fits into that category. If the opening lyrics cannot hold the attention of the listener, and these don’t hold mine, than you know something is wrong.

As the song progresses, the lyrics take a turn from the idea of this person not being in a hurry for daily activities and errands to not being in a rush to ascend to heaven:

When I must return

To the cold cold ground

Have ‘em take their time

When they lay this sinner down

Heaven knows that I ain’t perfect

I’ve raised a little cain

And I plan to raise a whole lot more

Before I hear those angels sing

(Gonna get right with the lord)

But there’ll be hell to pay

But I ain’t in no hurry

The idea of living it up while you’re still on earth is predictable and bordering on cliché. As evidenced by their lazy execution, the writers are aptly reiterating what we’ve heard countless times before without offering us anything new. And such a poor execution is quite baffling from writers as talented as these.

But the one saving grace for “No Hurry” is the production. I thoroughly enjoy the fiddle and guitar work as it accomplishes the task of drawing the listener in and keeping them from turning the dial as soon as the song comes on. Anytime I get to hear fiddle front and center on a mainstream country single these days is a cause for celebration. Too bad the concept for the song doesn’t follow suit.

Grade: C 

2011 CMA award predictions

The Country Music Association annual awards ceremony will take place on November 9th, 2011, presented by the pairing of Brad Paisley and Carrie Underwood, who have become something of a fixture in that role in the past few years. Last year Brad also triumphed by winning the Entertainer of the Year title for the first time. The show will feature performances from many of the nominees, plus American Idol Scotty McCreery and pop star Lionel Richie, who has been recording duets with country stars for release next spring.

Here are our thoughts about who will walk away smiling next Wednesday night, category by category:

Entertainer of the Year

Jason Aldean
Brad Paisley
Blake Shelton: Jonathan Pappalardo, Occasional Hope, Razor X, J.R. Journey
Taylor Swift
Keith Urban

Occasional Hope: I feel this is a genuinely open category this year. Brad Paisley is the reigning Entertainer, having finally won the long overdue title last year, and is clearly popular with voters. However, I think he has passed his peak both commercially and (more importantly) artistically, with relatively disappointing sales figures for recent albums, although he continues to do well at radio with a #2 and two #1 hits over the period. He is also one of the top earners in country music, alongside Taylor Swift. Teen favorite Swift won the title controversially in 2009, then was largely ignored last year, and is back again with a brace of nominations. She undoubtedly has the biggest international and pop profile of all the nominees, as well as the biggest sales, with over three million copies sold so far of Speak Now in the U.S. and platinum or multi-platinum status in a number of other countries, some (like the Philippines) with little exposure to country music. She has also toured successfully overseas this year. Of course, that makes her an international pop star as much or more than a country star who has gotten lucky with pop airplay; how far should that sway the CMA?

I have a sneaking suspicion that Jason Aldean could be a big winner this year overall. He’s had a good year, with one of the best-selling albums (over 1.5 million sales), and his brand of country-rock, while far heavier on the rock than the country, has carved out a niche in the market for himself. I’m not a fan myself, but he is undeniably one of the big names in country music at the moment, with two #1 and a #2 hit single from this album, and a crossover AC hit thanks to his duet with Kelly Clarkson. But my gut feeling is that it’s a bit soon to win the top award this year. Blake Shelton, despite his title as reigning Male Vocalist, is the other surprise nominee, and he could just swing it based on the impact he has had as an ambassador for the genre, with his TV role on The Voice. He has also had two #1 singles with ‘Who Are You When I’m Not Looking’ and ‘Honey Bee’, and the frankly baffling inclusion of his poorly selling EP among the Album nominees signals that the Association voters are keen to reward him.

Razor X: It’s hard for me to get very excited about any of these nominees, but Shelton seems to be on a hot streak so I think he will win. And if I have to root for one of these nominees, I’d probably go with him.

Jonathan: This is a case of the veterans versus the newcomers. Urban hasn’t won since 2005 and I don’t expect that drought to end this year. Paisley (who should win) and Swift are strong contenders, but their steady success isn’t enough to help them prevail. It comes down to Shelton versus Aldean, and in a battle between the country rocker and the TV star, Shelton walks away with his first Entertainer trophy.

J.R. Journey: I think Paisley and Urban are just slot-fillers at this point in their careers, so they’re out. Jason Aldean had a strong year and so did Taylor Swift, but neither exploded into the mainstream – Taylor’s been there for several years now – like Blake Shelton, with a major television and soundtrack push. He’s on a major upswing, and that ought to sway voters enough to give him the edge.

Country Heritage: Sonny & Bobby, The Osborne Brothers

Bluegrass and Modern Country Music – kissin’ cousins or estranged relations ? Although they claim common ancestry (Ernest Tubb, Gene Autry and Bill Monroe were all hugely influenced by Jimmie Rodgers, and many others were influenced by the Original Carter Family), it has been many years since modern country and bluegrass music split off in different directions from their acoustic string band origins. Up until the end of the 1960s you could hear bluegrass played by some country radio stations (most frequently by smaller stations located in more rural areas), and artists such as Jimmie Skinner, the Willis Brothers, Lee Moore, Grandpa Jones and Frank “Hylo” Brown straddled the two genres. Mainstream artists such as Skeeter Davis, Carl Smith, Porter Wagoner and the duo of George Jones & Melba Montgomery would record albums of bluegrass songs. By the end of the 1960s, however, bluegrass was nearly extinct on country radio. True, there were a few songs, usually associated with movies (“Foggy Mountain Breakdown,” “Dueling Banjos”) or television shows (“The Ballad of Jed Clampett”), which achieved some airplay, but those were few and far between.

Today bluegrass is largely banished from country radio. Yes, various performers such as Keith Urban or Rascal Flatts will gratuitously drop a banjo or a mandolin into their songs, but their music isn’t bluegrass. Yes, artists such as Alison Krauss or Rhonda Vincent will occasionally grace a Nashville artist’s album as a duet partner for a song or two, but those songs really aren’t bluegrass either. And yes, the soundtrack to Oh Brother, Where Art Thou, sold millions of copies – but how often did your local country station play any of the songs from the soundtrack?

The last bluegrass act regularly to receive country radio airplay was the duo of banjo player Roland “Sonny” Osborne (born 10/29/37) and his mandolin-playing brother, Bobby Osborne (born 12/9/1931). Sonny and Bobby were born in Hyden, Kentucky, but when Sonny was very young, the family moved near Dayton, Ohio where they had their first experiences as performers. As children, their father instilled a love for traditional music. Bobby picked up the electric guitar as a teenager and played in various local bands. A few years after his brother began playing the guitar, Sonny picked up the banjo. Both were greatly influenced by the likes of Ernest Tubb, Roy Acuff, Alton & Rabon Delmore and Bill Monroe.

Being six years older, Bobby was first out of the gate. During the autumn of 1949, he and friend/banjoist Larry Richardson joined the Lonesome Pine Fiddlers. This effectively changed the band from Delmore Brothers sound-alikes into a pioneering bluegrass band. They recorded a number of sides together including the original version of “Pain In My Heart.”

In 1950, 13 year old Sonny joined his brother in the Lonesome Pine Fiddlers. Following his tenure with the Lonesome Pine Fiddlers, Bobby joined forces with Jimmy Martin to form a band called the ‘Sunny Mountain Boys’. Following the breakup with Martin, Bobby briefly joined the Stanley Brothers, singing high baritone above Carter’s lead and Ralph’s tenor. Unfortunately, before this trio was able to record, Bobby was drafted into the military in November of 1951.

During Bobby’s military service Sonny continued his musical career. During the summers of 1952 and 1953, Sonny played banjo for Bill Monroe. Also, Sonny recorded a number of singles for small record labels such as Kentucky and Gateway. I do not know how many sides were released by Gateway, but I am aware of at least forty-two songs being recorded, featuring Sonny on banjo and vocals, Carlos Brock on guitar and vocals, Billy Thomas on fiddle, Smokey Ward on bass and Enos Johnson on mandolin and vocals.

In late 1953, Bobby & Sonny teamed up with Jimmy Martin and performed on a local Detroit radio station billed as “Jimmy Martin and The Osborne Brothers.” Bobby & Sonny lasted two years with the mercurial Martin, during which time they recorded a few singles for RCA. They left in 1956 to work with Charlie Bailey on the WWVA Big Jamboree in Wheeling, West Virginia, where they would stay for four years. A few months later they joined forces with lead singer Harley “Red” Allen and formed their own band–thereafter becoming known as the Osborne Brothers.

Shortly after joining forces with Red Allen, The Osborne Brothers signed a deal with MGM records. Their fifth single for MGM, “Once More,” reached #13 in 1958. While no more singles charted nationally for MGM (many of their records were regional hits), the Osborne Brothers continued to record, refining their sound. Red Allen left the group after the first album, but Sonny & Bobby soldiered onward, with other outstanding vocalists such as Benny Birchfield helping complete the harmony trios. They would record three more albums for MGM before leaving for Decca in late 1963. Many of these albums included songs that would later become hits when re-recorded for Decca.

The Decca years found Sonny and Bobby experimenting with the instrumentation of their music. They experimented slowly at first, using an electric bass, then added additional instruments such as steel guitar and piano, and Sonny’s own creation, the electric six-string banjo. The hybrid country bluegrass sound proved quite popular with fans and disc jockeys alike. They were soon booked on the major country package shows of the day. With their voices being featured on their own major label recordings and on others from Conway Twitty to Bill Monroe, their name became synonymous with harmony singing. From 1966 to 1976, the Osborne Brothers would chart 16 times. While none of these songs were huge national hits, the records sold well and were mostly huge hits in the Southeast and Mid-Atlantic areas. Several of their songs such as “Ruby (Are You Mad),” “Roll Muddy River,” “Son of A Sawmill Man” and “Rocky Top” became bluegrass standards, with the latter even being designated as an official Tennessee State song.

The Osborne Brothers were inducted as members of the Grand Ole Opry in 1964. They were voted as the CMA’s “Vocal Group of the Year” in 1971, and received nominations in the category in 1970, 1974 and 1975. From 1971-1978 they were honored by Music City News as the nation’s top bluegrass group. Along the way, they became one of the first major bluegrass groups to appear extensively at bluegrass festivals.

The eighteenth (and last) charted single for Sonny & Bobby was “I Can Hear Kentucky Calling Me” in early 1980, which peaked at #75. By 1980, the chasm between the sound of bluegrass and modern country music had grown too deep for bluegrass to get any airplay on country radio. Ricky Skaggs would have considerable success on country radio during the years just ahead, but the records that charted well for Skaggs were far less grassy than the hybrids that the Osborne Brothers had been charting in the 1960s and 1970s.

Following their departure from Decca/MCA in 1975, The Osborne Brothers signed with Country Music Heritage (CMH) records and gradually reverted to traditional bluegrass instrumentation and have stayed there ever since. The Osborne Brothers were inducted into the International Bluegrass Music’s Hall of Honor (the genre’s equivalent to the Country Music Hall of Fame) in 1994 and were elected to the Kentucky Music Hall of Fame in 2002.

He Osborne Brothers continued to perform until Sonny Osborne retired from performing in 2005 after a shoulder operation affected his ability to play the banjo. Bobby Osborne continues to perform to this day, with Rocky Top X-Press, the band he formed after Sonny’s retirement. At 79 years of age, Bobby still tours – his busy schedule can be checked out on his website www.bobbyosborne.com .

The Osborne Brothers were pioneers in being among the first bluegrass groups (possibly the first bluegrass group) to include modern country instruments such as drums, electric bass, electric guitar, electric banjo, guitjo (a banjo neck on a guitar body) and steel guitar into bluegrass music. Many other acts would follow suit, even traditionally oriented groups such as Jim & Jesse McReynolds. Perhaps of greater importance was the vocal trio style created by the Osborne Brothers in conjunction with Red Allen, sometimes dubbed as “inverted stacked harmony”. This sound, unique and electrifying, featured Bobby singing a high lead line, Sonny singing baritone, and finally Red Allen singing the tenor as the lowest part. Although Red left after the first MGM album, subsequent vocalist such as Benny Birchfield , Dale Sledd and others kept the excitement going, setting a pattern many other groups,both bluegrass and modern country tried to duplicate, although few with such panache.

Discography

VINYL

The Osborne Brothers recorded four albums for MGM and 14 albums for Decca/MCA during the vinyl era. All of these records are worthwhile. If you found all 18 of the albums and played them chronologically you would hear a detailed history of the evolution of bluegrass music as the Osborne Brothers occasionally strayed into “newgrass” before the term was invented. The Decca/MCA albums are especially interesting as the Osborne Brothers covered many classic country songs as well as contemporary country material.

Unfortunately, little of the classic MGM and Decca/MCA material is available on CD, except for on two terrific (and quite expensive) boxed sets issued by Bear Family which contain all of the MGM and Decca/MCA material.

Leaving MCA/Decca after 1975, the Osborne Brothers joined the tradition-oriented Country Music Heritage (CMH) label, issuing at least ten albums for CMH, including a wonderful double album with Mac Wiseman. The CMH albums straddle the vinyl, cassette and CD eras, so you may find those albums in any or all of those formats.

Four albums were issued on Sugar Hill and five on Pinecastle. The Pinecastle albums all were issued on CD, however, only Once More, Volumes 1 & 2 were released on CD by Sugar Hill.

There was a live album issued on RCA in April 1982 titled Bluegrass Spectacular. This album, recorded in October 1981 at Opryland’s Theater By The Lake, features the Osborne Brothers with guests the Lewis Family and Mac Wiseman. Hairl Hensley and Roy Acuff do the opening introductions. For this performance, Paul Brewster sings the additional harmony Hal Rug plays steel guitar and former Texas Troubadour Leon Rhodes plays electric lead guitar. As far as I know this is the only RCA album, although RCA Camden issued something in 1968 called Bluegrass Banjo Pickers which has a few Sonny Osborne tracks (I’ve never seen the actual album)

CD

The Ernest Tubb Record Shop currently has available both of the Bear Family Box Sets at $99.98 each. If you are a diehard fan, it’s definitely worth the money to buy these, but for the casual fan, they are overkill. It is possible (sometimes) to find these sets for less money on sites such as www.overstock.com and www.countysales.com . Also you may be able to find used sets on sites such as www.musicstack.com .

The only other CD available covering the Decca/MCA years is titled Country Bluegrass. It sells for $9.98 and has ten of their chart hits including “Rocky Top,” “Roll Muddy River” and “Ruby (Are You Mad).” It’s inadequate, but essential.

ET has eleven more titles available, all of which come from post-1975. They do have the terrific Essential Bluegrass Album (with Mac Wiseman) which was a double album with 24 songs.

ET also has available six solo albums that Bobby Osborne has issued plus an album with Jesse McReynolds titled Masters of The Mandolin. I have several of Bobby’s solo albums – they are good but something was definitely lost from the vocal blend when Sonny retired. Moreover, Bobby has lost some of his upper range over the years, especially on the more recent albums and when he performs some of the old Osborne Brothers classics, he has had to do them in lower keys. This point was brought home by Bobby’s performance on the Opry in July 2011, where Bobby has clearly changed the chord progression on the chorus of “Rocky Top” to make it easier to sing.

Currently www.bobbyosborne.com has six of Bobby’s solo albums available for sale as well as ten Osborne Brothers CDs and two DVDs of the Osborne Brothers in concert.

New singles roundup: Swift, Flatts & Bedingfield, Shelton

Taylor Swift – “Sparks Fly”   Listen.

When most of us were still clumsy, horomonal teenagers, our high school English teachers drilled Mark Twain’s old adage “write what you know” into our heads as if the statement held some great truth, and Taylor Swift has certainly given the questionably sage advice new credibility with her music. After all, who knows more about the thunder and lightning in your head as physical attraction causes an ebb and flow of emotions than a 21 year-old woman, fresh from her teens and with enough life experience to recognize it as it’s happening? “Sparks Fly” isn’t propelled by an original idea like the singer’s recent singles – dropping everything for the passion of a sweet embrace is perhaps pop and country music’s most popular go-to place right now – but will stand up with the heavier-hitters in Swift’s catalog because the songwriter’s vocabulary has evolved to speak to her target audience instinctively. She’s singng about engaging green-eyed boys and fantasies of kissing in the pouring rain, being carried up the stairs, and so on. Add to that the engaging Swiftian melody, some really clever lines – “something that’ll haunt me even when you’re not around” is a personal favorite – and the stop and start production, where the electric guitar pounds as hard as the drums, and you’ve got a ready-made chart-topper. Even with lighter fare such as this, Swift demonstrates why she’s got the corner on the country-light market right now.

Grade: B+

Rascal Flatts featuring Natasha Bedingfield – “Easy”   Listen.

Another season, another country star/pop star collaboration for the radio playlists.  This time out, it’s Rascal Flatts teaming with British dance/pop hit-maker Natasha Bedingfield.  Katrina Elam and Mike Mobley’s lyrics offer a telling glimpse into the awkwardness two ex-lovers experience trying to keep their cool in a crowd of Friday night revelers.  It’s got more substance than “Don’t You Wanna Stay”, for instance, but to their credits, Aldean and Clarkson had the horse sense to limit their showboating to a realized final crescendo.  Here, LeVox and Bedingfield do a disservice to the true-to-life lyrics with their “I’m so deep, complex, and heartbroken this is the only way I can express myself” approach to performing the song. The pounding production tricks that work to punctuate the lyrics in the chorus do nothing more than ratchet up the pretentiousness of the affair by two, as swells of screaming electric guitars and an electronic drum machine frame the vocal antics.  They seem to have been going for over-the-top schmaltz, and they’ve accomplished that, but in the end, “Easy” comes off as “Picture” with an emo-sensibility.

Grade: D+

Blake Shelton – “God Gave Me You”   Listen.

The first four lines to the CMA Male Vocalist of the Year’s latest single don’t signal a big love song is soon to come.  Those bits of self-realized honesty do serve to characterize the narrator, however, and lend an air of believability (not to mention leniency) to coming statements like “You’ll always be love’s great martyr/I’ll be the flattered fool/And I need you“.  Contemporary Christian artist Dave Barnes had a 2009 hit on the Adult and triple C charts with the song.  Shelton has injected his best matter-of-fact country boy vocal into the song, overcoming the smashing electric guitars and electric piano that lead the song.  ”God Gave Me You” is a better offering from the singer than his previous four consecutive chart-topping singles, and will earn its eventual place at the top.

Grade: B

Week ending 6/3/11: #1 albums this week in country music history

1966: Buck Owens – Roll Out The Red Carpet for Buck Owens and His Buckaroos (Capitol)

1971: Merle Haggard and The Strangers- Hag (Capitol)

1976: Wille Nelson – The Sound In Your Mind (Columbia)

1981: Alabama – Feels So Right (RCA)

1986: Willie Nelson – The Promiseland (Columbia)

1991: Garth Brooks – No Fences (Capitol)

1996: Brooks & Dunn – Borderline (Arista)

2001: Tim McGraw – Set This Circus Down (Curb)

2006: Rascal Flatts – Me and My Gang (Lyric Street)

2011: Jason Aldean – My Kinda Party (Broken Bow)

Week ending 5/28/11: #1 albums this week in country music history

1966: Buck Owens – Roll Out The Red Carpet for Buck Owens and His Buckaroos (Capitol)

1971: Merle Haggard and The Strangers- Hag (Capitol)

1976: Wille Nelson – The Sound In Your Mind (Columbia)

1981: Alabama – Feels So Right (RCA)

1986: Reba McEntire – Whoever’s In New England (MCA)

1991: Garth Brooks – No Fences (Capitol)

1996: Brooks & Dunn – Borderline (Arista)

2001: Tim McGraw – Set This Circus Down (Curb)

2006: Rascal Flatts – Me and My Gang (Lyric Street)

2011: Jason Aldean – My Kinda Party (Broken Bow)

Week ending 5/21/11: #1 albums this week in country music history

1966: Buck Owens – Roll Out The Red Carpet for Buck Owens and His Buckaroos (Capitol)

1971: Merle Haggard and The Strangers- Hag (Capitol)

1976: Wille Nelson – The Sound In Your Mind (Columbia)

1981: Willie Nelson – Somewhere Over The Rainbow (Columbia)

1986: Hank Williams Jr. – Five-O (Warner Brothers/Curb)

1991: Dolly Parton – Eagle When She Flies (CBS)

1996: Brooks & Dunn – Borderline (Arista)

2001: Tim McGraw – Set This Circus Down (Curb)

2006: Rascal Flatts – Me and My Gang (Lyric Street)

2011: Jason Aldean – My Kinda Party (Broken Bow)

Week ending 5/14/11: #1 albums this week in country music history

1966: Buck Owens – Roll Out The Red Carpet for Buck Owens and His Buckaroos (Capitol)

1971: Sammi Smith – Help Me Make It Through The Night (Mega)

1976: Wille Nelson – The Sound In Your Mind (Columbia)

1981: Willie Nelson – Somewhere Over The Rainbow (Columbia)

1986: Alabama – Greatest Hits (RCA)

1991: Garth Brooks – No Fences (Capitol)

1996: George Strait – Blue Clear Sky (MCA)

2001: Tim McGraw – Set This Circus Down (Curb)

2006: Rascal Flatts – Me and My Gang (Lyric Street)

2011: Jason Aldean – My Kinda Party (Broken Bow)

Week ending 5/6/11: #1 albums this week in country music history

1966: Buck Owens – Roll Out The Red Carpet for Buck Owens and His Buckaroos (Capitol)

1971: Lynn Anderson – Rose Garden (Columbia)

1976: Wille Nelson – The Sound In Your Mind (Columbia)

1981: Willie Nelson – Somewhere Over The Rainbow (Columbia)

1986: Alabama – Greatest Hits (RCA)

1991: Garth Brooks – No Fences (Capitol)

1996: Brooks & Dunn – Borderline (Arista)

2001: Brooks & Dunn – Steers & Stripes (Arista)

2006: Rascal Flatts – Me and My Gang (Lyric Street)

2011: Alison Krauss & Union Station – Paper Airplane (Rounder)