My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Jason Aldean

Week ending 4/29/17: #1 singles this week in country music history

1957 (Sales): Gone — Ferlin Husky (Capitol)

1957 (Jukebox): Gone — Ferlin Husky (Capitol)

1957 (Disc Jockeys): Gone — Ferlin Husky (Capitol)

1967: Need You — Sonny James (Capitol)

1977: She’s Got You — Loretta Lynn (MCA)

1987: Rose In Paradise — Waylon Jennings (MCA)

1997: One Night at a Time — George Strait (MCA)

2007: Wasted — Carrie Underwood (Arista)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Any Ol’ Barstool — Jason Aldean (Broken Bow)

Album Review: Little Texas – ‘Little Texas’

little-texasThe sands of time ran out quickly for Little Texas as their eponymous fourth album, their last for Warner Brothers, barely charted reaching #47. By this time lead singer Brady Seals had departed the band leaving Tim Rushlow in charge of lead vocals.

Little Texas
hit the marketplace thirty-one months after their third album, a delay that probably didn’t help their chances in the ever changing market. The three singles released from the album all tanked at radio with none reaching the top forty. Despite this, I regard this as possibly their best album, with tighter vocal harmonies and a nice array of songs.

The album opens with “Loud and Proud”, written in part by band member Porter Howell. This is one of the weaker songs on the album, sounding more rock than country, but it is not bad:

Show me a mountain
Tell me it can’t be climbed
I’ll find my way through any shadow of doubt
And I’ll meet you on the other side

I love a good challenge
Send them all my way
I’ll rise to any occasion
I am not afraid

To be loud and proud
And givin’ in to nothin’
Livin’ and a lovin’
I’ll never get enough
And all the ups and downs
I take ’em as they come
And I’ll be right here standing my ground
Loud and proud

“Bad for Us” from the pens of Porter Howell, Dwayne O’Brien and Tom Shapiro) was the first and most successful single, reaching #45. The song is a nice ballad about a relationship that seems to be on the rocks. Several radio stations featured this song as their pick of the week, but the song never did generate any momentum, not surprisingly since more than a year had passed since the band’s last single.

You really got a good one in
You hit me where it hurts
Just so you wouldn’t get the best of me
I fired back somethin’ worse

I put you down
You show me up
Good for you
Good for me
Bad for us

We keep goin’ around and ’round
When’s it gonna stop
Real love’s not a matter of
Who comes out on top

“Ain’t No Time to Be Afraid” by Porter Howell and Allen Shamblin is another nice ballad, this one rather philosophical in nature. I would have picked this song for single release:

I was scared half to death
I couldn’t catch my breath
‘Cause that old tree down by the river
Was thirty feet high

That’s when I heard my daddy’s voice
He said, Son you’ve got a choice
You can climb down now
Or you can fly

This ain’t no time to be afraid
Or look the other way
If your prayers have all been prayed
Then you just let it come what may

If you’re not brave enough to try
Then life will pass you by
All we have is today
There ain’t no time to be afraid

“Long Way Down” sounds more like up-tempo 60s pop than anything else. Nashville songsmith Bob DiPiero co-wrote this with Porter Howell and O’Brien.

The second single off the album was “Your Mama Won’t Let Me”, which died at #64 on the charts. It is pretty generic, pleasant but not all that memorable. Del Gray, Thom McHugh and Keith Follesé composed this song

Like to take you to the movies on a Saturday night
But your mama won’t let me
Steal you away for a Sunday drive
But your mama won’t let me

She’s one step ahead of me every time
When I get too close she draws that line
Thinks I’m trouble but I’m not that kind
Your mama won’t let me make you mine

“All In The Line of Love” from Porter Howell, Dwayne O’Brien and Stephen Allen Davis is yet another pleasant but fairly generic ballad

I think the label missed a bet in not releasing the Bob DiPiero-Walt Aldridge song “Living in a Bullseye” as a single. I don’t think it would have been a huge hit but I suspect it would have at least cracked the top thirty. The song is a mid-tempo ballad with clever lyrics that would resonate with any blue collar worker:

I heard the whistle blowing as I pulled in the gate
I knew without looking, I was already late
Praying the boss wouldn’t catch me again
Sweating bullets while I was sneaking in

I’m living in a bullseye, ground zero
It’s kinda scary when the arrows fly
I ain’t trying to be no superhero
I duck and cover just to stay alive
Living in a bullseye

Eight hours later, at a half past five
I’m listening to my radio and pulling in the drive
The music telling me a thing that’s good
So I’m crossing all my fingers and I’m knocking on wood

“The Call” by Walt Aldridge and Tim Rushlow was the final single released from the album, peaking at #71. It’s a nice ballad with sleek vocal harmonies. I heard it quit a bit here in Central Florida, but it apparently tanked elsewhere:

You can run but you can’t hide
You can keep it all inside
Take it from a fool who’s tried it all
Pay attention to a friend
Who swore he’d never fall again
You’re gonna answer
When you get the call

“Yesterday’s Gone Forever” (Dwayne O’Brien, Jim Rushing) has the feel and sound of eighties country minus the annoying synthesizers. When released it really had no singles potential, but I can recall times when this introspective ballad would have done very well with radio:

For all of my good intentions
Heartfelt every one
I’ve left so much love unspoken
So much of life I’ve left undone

I could’ve made a difference
I just never made the time
Now yesterday’s gone forever
And today ain’t far behind

Should’ve taken that job in Dallas
Or the one in San Antone
Should’ve left that girl in the city
And married the one back home

I’d love to run back through the years
To tell her I was blind
But yesterday’s gone forever
And today ain’t far behind

The album closes with the Porter Howell – Chuck Jones rocker “If I Don’t Get Enough of You”.

If I don’t get enough of you
I can’t think, I can’t sleep
If I don’t get enough of you
I can’t eat, I get weak

Without you there to hold me tight
Well, I can’t make it through the night
I don’t know what I’m gonna do
If I don’t get enough of you

If I don’t get enough of you
I don’t act like I should
If I don’t get enough of you
It’s a fact, I’m no good

I think this is a better album than their first three efforts – good production, decent songs (none of the Texas chauvinism that marred earlier albums) and a really tight band augmented by Jeff Huskins on fiddle and piano, and Dan Dugmore & Sonny Garrish on pedal steel guitar, plus really good harmony vocals.

Why then did this album tank ?

I think the answer is three-fold:

1) There apparently some element of dissension in the band. Both Brady Seals and Tim Rushlow thought that they could become big solo stars, something that neither achieved.

2) A long lapse between the release of the third and fourth albums – to put it bluntly, radio forgot about them.

3) Changes in the country music market place which ultimately led to the domination of faux country acts like Rascal Flatts and Jason Aldean.

I would give this album an A-

Week ending 12/3/16: #1 singles this week in country music history

life_tillisjump121615_16350281_8col1956 (Sales):Singing the Blues — Marty Robbins (Columbia)

1956 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)

1966: Somebody Like Me — Eddy Arnold (RCA)

1976: Good Woman Blues — Mel Tillis (MCA)

1986: Touch Me When We’re Dancing — Alabama (RCA)

1996: Strawberry Wine — Deana Carter (Capitol)

2006: Before He Cheats — Carrie Underwood (Arista)

2016: Blue Ain’t Your Color — Keith Urban (Capitol)

2016 (Airplay): A Little More Summertime — Jason Aldean (Broken Bow)

50th CMA Awards: Grading the Twenty Performances

Instead of the typical CMA Awards prediction post, I thought it might be fun to rank the twenty performances, all of which brought something special to the evening. Here they are, in ascending order, with commentary:

20.

imrs-phpBeyoncé Feat. Dixie Chicks – Daddy’s Lessons

The most debated moment of the night was the worst performance in recent CMA history, an embarrassment to country music and the fifty years of the organization. Beyoncé was the antithesis of our genre with her staged antics and complete lack of authenticity. If Dixie Chicks had performed this song alone, like they did on tour, it would’ve been a slam-dunk. They were never the problem. Beyoncé is to blame for this mess.

Grade: F

19.

Kelsea Ballerini – Peter Pan

I feel bad for her. It seems Ballerini never got the memo that this was the CMA Awards and not a sideshow at Magic Kingdom. Everything about this was wrong – the visuals, wind machine and, most of all, the dancers. Once I saw the harness in plain sight, I knew it was over.

Grade: F 

 18.

362x204-q100_121d9e867599857df2132b3b6c77e0c8Luke Bryan – Move

Nashville is perennially behind the trends as evidenced by Bryan’s completely out of place performance. One of only two I purposefully fast forwarded through.

Grade: F 

 17.

Florida Georgia Line feat. Tim McGraw – May We All 

Stood out like a sore thumb, for all the wrong reasons. Not even McGraw could redeem this disaster.

Grade: F  

16.

gettyimages-620669440-43407842-8b2a-437b-a6e4-f643a1b5b104Carrie Underwood – Dirty Laundry

The newly minted Female Vocalist of the Year gave the third weakest performance of this year’s nominees. I commend her use of an all-female band, but disliked everything else from the visuals to Underwood’s dancing. It all starts with the song and this one is among her worst.

Grade: D+

15.

Thomas Rhett – Die A Happy Man

The biggest hit of the year gave Thomas Rhett a moment his other radio singles proves he doesn’t deserve. He remained gracious throughout the night, proving he can turn it on when it counts. I just wish it wasn’t an act.

Grade: B- 

14.

362x204-q100_b63432d74b677e29d35917efd7490170Keith Urban – Blue Ain’t Your Color

A perfectly serviceable performance of an above average song. He did nothing to stand out from the pack neither adding to nor distracting from the night’s more significant moments.

Grade: B

13.

Dierks Bentley feat. Elle King – Different for Girls 

At least Bentley wasn’t showcasing the rowdier side of Black. He and King didn’t do anything to stand out and the whole thing was more middle of the road than anything else.

Grade: B

 12.

landscape-1478192054-gettyimages-620693852Martina McBride, Reba McEntire, Kacey Musgraves, Jennifer Nettles and Carrie Underwood – Dolly Parton Tribute 

I have nothing against Parton nor do I deny her incredible legacy as a pioneer in the genre. But it’s time to honor someone else. Parton has been lauded and it’s so old at this point, it’s unspectacular. That’s not to say this wasn’t a great medley, it was. I just wish it had been for someone different, like say, Tanya Tucker.

Grade: B

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Single Review: Artists of Then, Now and Forever – ‘Forever Country”

forevercountry-1110x400

The Country Music Association has found a way of honoring their fiftieth anniversary – gather 30 of the genre’s biggest stars from the past, present and future for an unprecedented collaboration. The result is certainly buzzworthy and continues the tradition of the ‘all-star jam’ that saw its beginnings with the original 1972 recording of ‘Will The Circle Be Unbroken.’ The trend continued into the 1990s (Think “I Don’t Need Your Rocking Chair” and “One Heart At A Time”) before seemly dying off.

“Forever Country,” as the collaboration is called, blends three country standards – “Take Me Home, Country Roads,” “I Will Always Love You” and “On The Road Again” into a single song showcasing each of the artists involved with dedicated solos. The John Denver classic is the bedrock, with the others woven in.

The song succeeds because of Shane McAnally, who subtracts not distracts with his warm production values. He does a superb job of complimenting each artist with a sense of balance that allows each one to shine individually. While they also beautifully come together as a collective whole, it’s obvious that some do shine brighter than others, which is understandable in such a context.

It’s been a long time since the legacy of country music has been honored and I admire the Country Music Association for bringing their theme and mission alive in such a public way. To have all these artists in one place, on one track truly is astonishing. We’ve let history fall by the wayside in recent years as boom era veterans (the last artists to grow up on classic country music) have been pushed out in favor of younger artists who meet demographic needs but have little knowledge of or appreciation for what it took to make their careers possible. This pattern is cyclical and leaves behind those who refer to the past as ‘the good ole days’ when country music still had a soul.m_forevercountrycma

Those unworthy younger performers, of which there are too many to mention, are nowhere to be found, which begs a question – are they subtly making the claim that no one, save Brett Eldridge (who adds is voice to the mix), is truly worthy of carrying the torch for the next generation? It also saves the track from coming off as a laughing stock.

“Forever Country” could’ve exercised a bit more imagination than having Dolly being Dolly at the end, there are legends missing I would’ve liked to have seen included and it’s odd to have Jason Aldean (who was shut out of the nominations entirely) figure so prominently. But the intention and heart of the project is carried out in execution, which is why “Forever Country” shines so brightly. It’s the gimmick that succeeds in not being gimmicky at all. It’s far from the greatest recording I’ve ever heard, but it is a welcomed surprise. I’ll take it.

Grade: A

 

 

Album Review: Clay Walker – ‘Fall’

fallI have always liked Clay Walker as a performer and admired his courage in pursuing his career in the face of adversity, in the form of multiple sclerosis which was diagnosed in 1996 when Clay was twenty-seven years old.

A similar fate befell country superstar Donna Fargo in 1978, definitely affecting her career; however, by 1996 significant progress had been made in the treatment of the illness, so that Clay was not forced to restrict his live appearances to the same extent that Fargo had been forced to do. Accordingly his career surged on, seemingly without missing a beat (although there were lifestyle and dietary changes that Walker made in combating his illness).

Fall was released in April 2007, on Asylum/Curb records, nearly four years after his previous album, A Few Questions, was released on RCA. Clay had signed with Asylum/Curb in July 2005 but, following its usual pattern, it took until February 2007, before the label got round to issuing any new music on Clay.

That brings us to the current album with the first single release being the humorous “‘Fore She Was Mama”. The song tells the story of a ten year old boy who discovers a “box of forget-me-nots” (or old memorabilia) in his parents’ closet.

There was one of her, flippin’ the bird
Sittin’ on a Harley
And a few with some hairy hippie dude
Turns out his name was Charlie
Her hair, her clothes, her drinkin’, smokin’
Had us boys confused
I’ll never forget the day us nosy kids got introduced…

To mama ‘fore she was mama
In a string bikini, in Tijuana
Won’t admit she smoked marijuana
But I saw mama ‘fore she was mama

I was stunned to find that this song only made #21 on Billboard’s country charts, since the song received very heavy airplay throughout most of the southeastern USA. In fact I know of four radio stations where the song soared to #1 on the local survey. The song was Clay’s first chart record since 2004.

Track two is the title track, which was the second single released. “Fall” would return Clay to the top ten reaching #5. The song is a nice mid-tempo ballad which the narrator offers moral support to a partner who has had a bad day. The song might have had crossover potential, but Curb released a pop version of the song by Kimberly Locke, another artist signed to Curb, thus killing Clay’s shot at a crossover hit.

Hold up, there you go again
Puttin’ on that smile again
Even though I know you’ve had a bad day
Doin’ this and doin’ that
Always puttin’ yourself last
A whole lotta give and not enough take

But you can only be strong so long before you break

So fall, go on and fall apart
Fall into these arms of mine
I’ll catch you every time you fall
Go on and lose it all
Every doubt, every fear, every worry, every tear
I’m right here
Baby, fall

Released ten years earlier, the third track “Workin’ Man” would have made a good single. Unfortunately by 2007, country radio was looking for music more in line with the schlock being produced by Rascal Flatts or Jason Aldean.

He slips on his warn out jeans
She buttons up his shirt
A sleepy smile and a goodbye kiss
And he’s up and off to work

He puts in a forty hour week
But she’s on his mind full-time
And he’ll give it everything he’s got
And he’s all her’s at five

‘Cause he’s a workin’ man
He don’t mind workin’ overtime
For the trust and the touch of a woman
Come rain or shine

“Miami and Me“ is a mid-tempo song about a love that couldn’t be

Meet her in Miami
Conversation turned to wine
We talked and we talked
Yeah we hit it off, just fine
Stayed down by the water
Slept beneath the stars
We laughed and we danced
Made love in the sand
I held her in my arms

But I couldn’t make her stay
California called her away
And tonight the moon turned as blue as the sea
And she left Miami and me

Track five, “She Likes It In The Morning” is a lovely slow ballad that proved to be the third and final single released from the album. For reasons I will never understand, the song died at #43.

And she likes it in the morning
And I run my fingers through her hair
And she smiles when I call her darling
She looks like a angel laying there

And she wants me in the evening
To listen close to how she feels
She needs to know I need her
And Heaven knows I always will

‘Cause she loves me every single day and night
And she says we are everything that’s good in her life
She says she loves me more than anything on earth
And that’s almost as much as I love her

Track six “Mexico” is an up-tempo island-vibe track that makes for a good album track. Ditto for track seven “You’re My Witness”, a gentle ballad.

Track eight “Average Joe” is a mid-tempo ballad about the average Joes in any town. The lyrics are a bit of a laundry list, but the song has a nice melody and the song hangs together well

I don’t mind working
I don’t mind drinking
When I need to unwind
And I like listening to a
Country song on a Friday night

I’m a welder in the shop downtown
The drywaller in your brand new house
Yeah I’m your Average Joe
I’m the guy that fixed your van
I’m the painter
I’m your concrete man
Yeah I’m your Average Joe

Track nine, “It Ain’t Pretty (But It’s Beautiful)”, is a tender ballad about, well, various things including appreciating the good things in our lives

Got home and told my wife bout what I’d seen
She grabbed her purse, took me by the hand and said come with me
We drove around until we found the three of them
I wondered who was blessing who when they got in
We bought them food and clothes and drove to a toy store
And the little girl said I don’t need a brand new doll
As she hugged the broken armless one they found before
She said this one needs me more

She ain’t pretty, but she’s beautiful
She ain’t perfect, but she’s wonderful
She might be broken, but she’s lovable
She ain’t pretty, but she’s beautiful

Track ten, “Before The Next Teardrop Falls” features the late great Freddy Fender in a duet with Clay. The song was a country and pop #1 in 1974. This would prove to be Freddy’s last recording before his death on October 14, 2006. The duet comes off very well and it is nice to know that Freddy’s last recording was a really good one.

The album closes with a pair of nice ballads in “I’d Love To Be Your Last” and “I Hate Nights Like This”.

My friend Brady Vercher of the 9513 blog gave this album three stars and most reviewers at the time of the release had this at 3 to 3.5 stars. My review on Amazon (4/19/2007) was as follows:

“Clay’s first album of new material in several years delivers the solid country sound that one has come to expect from Clay. The first single “‘Fore She Was Mama” received considerable airplay, and seems to hold up well upon repeated listening. I am surprised that “Mama” topped out on Billboard at around 21, because its appeal in the Sunshine State was considerably stronger than that. If radio stations still maintained their own charts, I would expect that this would have been a top five song on stations throughout the Southeastern and Southwestern parts of the USA, perhaps tanking north of the Mason-Dixon line.

The album features a nice mix of slow and up-tempo songs. One of the slower songs “It Ain’t Pretty (But It’s Beautiful)” is a bit maudlin, but for me it’s the best song on the album. Another highlight is Clay’s recording of “Before The Last Teardrop Falls”, a duet with the late Freddy Fender. Freddy’s death isn’t acknowledged anywhere in the CD booklet, but I’m pretty sure it was his last recording.

The current single “Fall” is receiving substantial airplay. I would not have picked it as a single, but I can see where its lyrics would have a strong appeal to female listeners with its strongly supportive message to the wife (or girlfriend).

“Average Joe” is a song that should resonate with many, and it features legendary pianist Hargus “Pig” Robbins. Paul Franklin plays steel on all tracks, but several fiddlers share the spotlight on the various tracks (Rob Hajacos, Stuart Duncan, Larry Franklin).

Welcome back Clay – four stars”

My opinion of the album has not changed since then, although I do not regard “It Ain’t Pretty (But It’s Beautiful)” as the best song on the album anymore.

Track Listing
1. “‘Fore She Was Mama”
Casey Beathard, Phil O’Donnell
3:43
2. “Fall”
Sonny LeMaire, Shane Minor, Clay Mills
3:37
3. “Workin’ Man” M. Jason Greene, Clay Walker 3:55
4. “Miami and Me” Greene, Walker 4:02
5. “She Likes It in the Morning”
Greene, Walker 3:50
6. “Mexico” Greene, Walker 2:41
7. “You’re My Witness” Greene, Walker 3:38
8. “Average Joe” Ed Hill, Don Poythress, David Frasier 3:09
9. “It Ain’t Pretty (But It’s Beautiful)” Doug Johnson, Nicole Witt, Kim Williams 4:00
10. “Before the Next Teardrop Falls” (duet with Freddy Fender)
Ben Peters, Vivian Keith
2:39
11. “I’d Love to Be Your Last” Rivers Rutherford, Annie Tate, Sam Tate 3:24
12. “I Hate Nights Like This” Walker 4:20

Week ending 7/23/16: #1 singles this week in country music history

hqdefault-81956 (Sales): I Want You, I Need You, I Love You/My Baby Left Me — Elvis Presley (RCA)

1956 (Jukebox): I Walk The Line/Get Rhythm — Johnny Cash (Sun)

1956 (Disc Jockeys): Crazy Arms — Ray Price (Columbia)

1966: Think of Me — Buck Owens (Capitol)

1976: Teddy Bear — Red Sovine (Starday)

1986: Until I Met You — Judy Rodman (MTM)

1996: Daddy’s Money — Ricochet (Columbia)

2006: The World — Brad Paisley (Arista)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): Lights Come On — Jason Aldean (Broken Bow)

Week ending 5/28/16: #1 singles this week in country music history

Kenny-Rogers-19821956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: Distant Drums — Jim Reeves (RCA)

1976: After All the Good is Gone — Conway Twitty (MCA)

1986: Tomb of the Unknown Love — Kenny Rogers (RCA)

1996: My Maria — Brooks & Dunn (Arista)

2006: Why — Jason Aldean (Broken Bow)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): Somewhere on a Beach — Dierks Bentley (Capitol)

Album Review: Randy Rogers Band – ‘Nothing Shines Like Neon’

41c2t4yC8TL._SS280After a decade on the dark side chasing mainstream success, The Randy Rogers Band has returned to its indie roots with Nothing Shines Like Neon, their first album in nearly three years. In the interests of full disclosure, I have to admit that I’m not familiar with the band’s back catalog, although I did thoroughly enjoy Randy Rogers’ side project with Wade Bowen (Hold My Beer, Vol. 1), which was reviewed by Occasional Hope last year. Though not as traditional as Hold My Beer, Neon is reportedly more rootsy than any of the Band’s four releases for Mercury and MCA, which ought to please fans who had been complaining that the band had lost its edge during its tenure in Nashville.

One of the problems with music that falls under the Americana/alt-country Red Dirt umbrella is that much of it really isn’t country and much of it is a wasteland of non-commercial material sung by those with vocals that are too rough to have any kind of mass appeal. There is always some wheat among the chaff, though it can often be difficult to separate the two. The effort is worth it, though, when an album like this one comes along. Produced by Buddy Cannon, it’s more polished than I expected. The most surprising thing about it is that 10 or 15 years ago it would have been solidly within the realm of the mainstream, though it would definitely be out of place on today’s radio next to the Sam Hunts and Jason Aldeans.

Randy Rogers co-wrote seven of the album’s tracks, two of them with producer Cannon, but the album’s best cuts are the ones contributed by outside songwriters, starting with the opening track, the fiddle-led “San Antone” written by Keith Gattis. I particularly enjoyed “Things I Need to Quit”, which follows the tried-and-true theme of comparing an ex-lover to bad habits that need to be broken, in the vein of Patty Loveless’ “A Thousand Times a Day”. The mid-tempo “Old Moon New”, a Rogers co-write with Lee Thomas Miller and Wendell Mobley, sounds like something Collin Raye might have released early in his career.

The album’s best track is “Look Out Yonder”, which features beautiful harmonies by Alison Krauss and Dan Tyminski. Jamey Johnson joins the band on “Actin’ Crazy”, a number about the morning after a night of tying one on, and fellow Texan Jerry Jeff Walker joins in on “Takin’ It As It Comes”, a party number that probably works better live in concert than it does on record.

The album’s weaker moments come when the band tries to be too middle-of-the-road; “Rain and the Radio”, “Neon Blues” and “Tequila Eyes” (a Cannon and Rogers collaboration with Dean Dillon) all fall into this trap. It was a little surprising to find songs like these on a Texas indie release. Perhaps the band hasn’t fully freed itself of Nashville’s shackles. Nevertheless, Nothing Shines Like Neon is a solid effort that refugees from bro-country and radio’s other atrocities are sure to enjoy.

Grade: A-

Predictions for the 49th Annual CMA Awards

CMA Awards 2015 graphicThe leaves are changing colors, the days are shorter and the weather is getting progressively colder by the day. When autumn rolls around, so do the annual Country Music Association Awards. The telecast, airing next Wednesday (November 4) on ABC, is the 49th in the show’s history.

The blending of ‘country’ with outside influences continues with scheduled duets between John Mellencamp & Keith Urban as well as Thomas Rhett & Fall Out Boy. Sam Hunt, Kelsea Ballerini and Maddie & Tae will take the stage for the first time. In an exciting twist, Hank Williams Jr will open the show with his brand new single “Are You Ready For The Country.” His cover of the Waylon Jennings tune will be presented as a duet with Eric Church.

Carrie Underwood and Brad Paisley will return to host. You can check out the nominees, here.

ec_0184crop_300cmyk_webEntertainer of the Year

Garth Brooks has had more embarrassing gaffs in the last year than any artist should have in their whole career. His tour has been massive, but he’s more than botched his comeback. By falling short, he’s made a win here feel a bit disingenuous.

Should Win: Eric Church – In his first headlining tour he struck out on his own and invited a slew of Americana based acts to open for him. He doesn’t give a damn about the establishment and refuses to be anyone other than himself. 

Will Win: Luke Bryan – There isn’t a single artist in mainstream country who’s bigger than him right now. He’s got his second consecutive win in the bag.

Male Vocalist of the Year

Dierks_Bentley-514x336The endless debate rages on. How many times does one person have to win a single award? Blake Shelton hasn’t done anything in 2015 extraordinarily special. He’s been on tour, had a few chart toppers, and continued as a coach on The Voice. Yawn. This is a battle between Dierks Bentley and Eric Church. Both equally deserve it, but sonority should win in the end.

Should Win: Dierks Bentley – He’s been topping the charts and going to battle for authentic country music going on thirteen years now. It’s time the CMA take his career to the next level.

Will Win: Eric Church  – Bentley is on his second consecutive nomination for the first time, but Church has more nominations overall in a year he didn’t even release an album. That kind of recognition should mean he’s the favorite to win his first trophy in this category.

Female Vocalist of the Year

hc-lee-ann-womack-performs-at-ridgefield-playhouse-0416-20150416Miranda Lambert’s reception at country radio has significantly cooled since this time last year and Kelsea Ballerini  is so new her debut album hasn’t even been released. This is Carrie Underwood’s award to loose, with two massive hits under her belt all the while laying low after giving birth.

Should Win: Lee Ann Womack – no other nominee has shown as much nuance in his or her vocal delivery over the past year than Womack. Her gifts are astonishing and shockingly undervalued. She should win on principle, collecting her second trophy in fifteen years.

Will Win: Kacey Musgraves – Underwood’s overall lack of nominations is a strong indicator that Musgraves will finally be the one to dethrone Lambert.

littlebigtown30-1423681046Vocal Group of the Year

 Both The Band Perry and Zac Brown Band spent 2015 selling their souls to the devil. Rascal Flatts and Lady Antebellum are just more category filler.

Should Win: Little Big Town – None of the other nominees combined had a song as impactful as “Girl Crush” this year. They deserve this.

Will Win: Little Big Town – Songs like “Girl Crush” only happens once in a career. They won on the strength of far weaker material in the past few years. They’ll win in a landslide.

0515-maddie-new-1Vocal Duo of the Year

Competition in the CMA’s dullest category doesn’t happen very often. Florida Georgia Line find themselves in the commercial verses artistic battle once again, a contest they lost to Musgraves in round one two years ago.

Should Win: Maddie & Tae – They’re a fresh force on the scene, calling out clichés and stereotypes with gusto. They could be ballsier still, but they’re on the right track.

Will Win: Florida Georgia Line – Maddie & Tae are very new, which could hurt them. That’ll leave the category open for the establishment to swoop in for a third consecutive win. (Since M&T and FGL are both on Scott Borchetta’s label group, it’ll be interesting to see whom he puts his influence behind).

New Artist of the Year

0115weberiverbendhunt1798024130_t755_he05f79007e18b2a270e2a6ff224d41a8e296151bThomas Rhett’s appeal has only grown since his first nomination last year. He isn’t quite a superstar yet, but he’s well on his hip-hop, Bruno Mars influenced way. Also on his way is Drake influenced Sam Hunt, who has risen twice as fast as Rhett. Then there’s Maddie & Tae, the duo who openly admires Dixie Chicks and has taken down Bro-Country.

Should Win: Chris Stapleton – I’m not jumping up and down, but I do recognize quality when I hear it. He’s easily the most articulate artist of this bunch.

Will Win: Sam Hunt  – There’s talk Montavello could score an Album of the Year Grammy Nomination. The industry has been bending over backwards to give him one of the flashiest launches in country music history. A win here is likely part of that plan.

815sIYbfiAL._SL1500_Album of the Year

Jason Aldean is the most overrated artist in commercial country right now, with one empty single after another. Broken Bow deserves a lot of credit for manipulating the CMA to give him a nomination. Pain Killer is Little Big Town’s weakest album to date. Traveller is the strongest overall album, by a wide margin.

Should Win: Pageant Material – Musgraves’ uneven sophomore set isn’t a tour-de-force, but it is the most interesting album of this bunch. 

Will Win: Pageant Material – Consider it an apology trophy for being the only organization that didn’t give this honor to Same Trailer Different Park. The CMA rarely acknowledges debut albums, but they see fit to celebrate their follow-up sets.

little-big-town-single-art-girl-crush-2015-03Single of the Year and Song of the Year

The battle here is between “Girl Crush” and “Take Your Time,” the two biggest singles of the past year. The only distinction between the two is that “Girl Crush” made waves for its content. Is it about lesbians? Are Little Big Town pushing a gay agenda? In that context, I see a very real and significant split.

(As an aside: overlooking “Something In The Water” is a major snub. Had Underwood’s single been nominated, I doubt we’d even be discussing even a remote chance of Hunt walking away a winner).

Will Win (Single): “Take Your Time” – The CMA have a history of awarding one-off singles such as “Cruise,” “Hurt,” “Man of Constant Sorrow,” “Achy Breaky Heart” and “Elvira,” which are flavors of the moment. The flavor right now is Hunt.

Will Win (Song): “Girl Crush”  – Ten years after Faith Hill brought her national attention, Lori McKenna will walk away with her first CMA Award for co-writing a song she thought no one would ever record.

Musical Event of the Year

Willie_Nelson_&_Merle_Haggard_-_Django_and_JimmieA full-length album goes up against four typical mainstream duets. It’s the second straight year the CMA has opted to nominate an LP, and like Bakersfield last year, the project deserves to compete in the Album of the Year category instead.

Should Win: Django and Jimmie – It’s been thirty-two years since Willie Nelson and Merle Haggard have come together for a collaborative effort. I wish Emmylou Harris and Rodney Crowell had been nominated instead, but it’s Nelson and Haggard.

Will Win: “Lonely Tonight” – Blake Shelton will win as a consolation prize when he hopefully looses his sixth straight Male Vocalist of the Year trophy. Then again, this is a duet with Ashley Monroe. Much like the country music community as a whole, the CMA have been criminally cool towards her. Hopefully Shelton can pull the pair over the top.

Music Video of the Year

carrie-underwood-something-in-the-waterIt should be a celebration that all five nominees are videos by female artists. But the CMA has regulated this as an off camera award, which dampens the progressiveness of the category this year. It’s always interesting to see who wins since this is often used as a consolation prize when the CMA overlooks artists in other categories.

Should Win: Something In The Water – Underwood is often overlooked, especially since her Female Vocalist run ended in 2009. She deserves this.

Will Win: “Something In The Water” was criminally overlooked for both Single and Song of the Year. It’s exclusion in those races only helps Underwood here. This is a consolation prize if there ever was one.

1885141596Musician Event of the Year

Mac McAnally has been nominated in this category for the past eight years. He’s won for the past seven years straight. He’s all but a lock to take it again.

Should Win: Dann Huff – It won’t count until next year, but he did a bang up job producing Maddie & Tae’s Start Here. I’d like to see him take this home.

Will Win: Mac McAnally – Betting against the status quo? Not this year.

Song Review: Don Henley featuring Dolly Parton – ‘When I Stop Dreaming’

Don-Henley-Dolly-Parton-Kevork-Djansezian-Rick-DiamondFew people expressed surprise when Don Henley announced plans to release a country album; he has dabbled in the genre before, collaborating on projects with Trisha Yearwood and Reba McEntire. And though The Eagles were not country band, there is no denying that they greatly influenced the genre. Add to that the fact that country music has long been a dumping ground for pop and rock acts past their commercial primes, and the decision to record an album in Nashville seemed to be a logical one.

Cass County is slated to be released next month. A few tracks have been made available for download via iTunes: the non-(country) charting “Take a Picture of This” and a duet with Martina McBride called “That Old Flame”. Neither can be described as hardcore country; they are middle-of-the-road AC-type songs with just enough country elements to keep the natives happy — about what one would expect from a side-project by a rock artist.

What is a surprise, however,is the third track to be pre-released from the album: a remake of the 1955 classic “When I Stop Dreaming”. That a rock act would cover The Louvin Brothers at all is in itself amazing, and is a gesture of respect for the genre on the part of Henley. One wonders how many of today’s “country” acts even know who Ira and Charlie were. I certainly can’t imagine the likes of Luke Bryan or Jason Aldean doing something this. Nor do I particularly want to. But I digress.

Dolly Parton is Don’s duet partner. Both Henley and Parton are pushing 70 — ancient in this youth-obsessed business, but they sound great and as they show the current generation of young artists (who are probably not paying a bit of attention) how it’s done. The steel guitar and the harmonies are beautiful — even if Dolly can’t sing quite as high as she did when she provided the harmony vocals to Emmylou Harris’ definitive 1977 version of the song. This will probably never be released as a single — and radio wouldn’t play it if it were, but it deserves to be heard and is worth downloading. Or you can listen to it here. This isn’t the best version of the song I’ve ever heard, but it’s easily one of the best recordings I’ve heard out of Nashville this year. Now if we could only get someone to write new songs this good.

Grade: A

Week ending 8/1/15: #1 singles this week in country music history

65d4876d6c6750a7cc2bf6e0f47728951955 (Sales): I Don’t Care/Your Good For Nothing Heart — Webb Pierce (Decca)

1955 (Jukebox): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Disc Jockeys): A Satisfied Mind — Porter Wagoner (RCA)

1965: Before You Go — Buck Owens (Capitol)

1975: Touch the Hand — Conway Twitty (MCA)

1985: Love Don’t Care (Whose Heart It Breaks) — Earl Thomas Conley (RCA)

1995: Any Man of Mine — Shania Twain (Mercury)

2005: As Good as I Once Was — Toby Keith (DreamWorks)

2015: Girl Crush — Little Big Town (Capitol)

2015 (Airplay): Tonight Looks Good On You — Jason Aldean (Broken Bow)

Album Review: Country Music of Your Life

country-music_good-brightTime-Warner has long been a trusted name for providing excellently re-mastered music in various genres of music. Country music fans may remember the Country USA series that covered each year for the period 1950-1972 with 24 songs, including some interesting songs that weren’t necessarily the biggest hits (usually because they weren’t on major labels).

The R&B market was covered by a similar series and the Easy Listening market hit the jackpot with the Your Hit Parade series that exhaustive covered the years 1940-1960 by year plus a bunch of CDs that grouped music together by theme or topic and extended the series into the 1960s, I don’t know whether or not I have the entire Your Hit Parade series but I do have forty-one CDs of the series covering about 1000 recordings.

Subsequent Time-Life series have featured the same digital mastering and useful notes but have been less exhaustive in scope. The Contemporary Country series would cover a three or four year period with a single disc of 22 songs, so the lesser known and minor label songs largely were gone. The latest Time-Life series is a collaboration with Music of Your Life, a radio format largely devoted to the easy listening/adult contemporary music market. Time-Life has collaborated before with Music of Your Life in assembling CDs of the music usually associated with the format. The actual label for this set is Star Vista/Time Warner.

Titled Country Music of Your Life, this latest set is a group of five two-CD sets in standard CD jewel boxes that hold two CDs. The booklet in the jewel box gives only the songwriting and publisher credits and billboard chart information . Additional information is contained in the 36 page book enclosed in the box. The titles of the CD sets are Talking In Your Sleep, Satin Sheets, I Believe In You, For The Good Times and Sweet Country Ballads. All but the last set are named after a song featured on one of the discs of the set.

By and large the first four sets are just random assortments of songs. All of the songs are big hits performed by the artists that enjoyed the hit, and the songs cover a wide range of dates. The first set has Hank Williams’ posthumous 1953 hit “Your Cheatin’ Heart” and Kenny Rogers’ 1980 hit “Lady” with sixteen of the tracks from the 1970s. The second set follows a similar pattern with Lefty Frizzell replacing Hank Williams as the token early 1950s representative.

The fifth set would please any fan of traditional country music (aside for the two Elvis Presley tracks, one a cover of “Green Green Grass of Home”). This set includes such gems as “Crazy Arms”, “Once A Day”, “Ring of Fire”, “Walk Through This World With Me” and “Please Help Me I’m Falling”. In theory the set consists of four two-CD sets with the fifth set as a “free bonus” (the television advertising was misleading). Accordingly, the enclosed book, although truly excellent, only covers the first four sets. The book is concise and well-written, giving interesting tidbits of information about the song and/or the performance, there are eight full page photographs of some of the stars (I think they reversed the image of the Glen Campbell photograph, which I recognized as the cover photo from Glen’s Wichita Lineman album) . Here’s an example of the book’s tidbits, this one about Sammi Smith’s “Help Me Make It Through The Night”:

“Whatever criticism that had been leveled against Nashville’s conservative approach to how records sounded, there’s no question that the songs themselves were getting edgier. Sammi Smith moved to Music City in 1967 and befriended songwriter Kris Kristofferson. County fans bought into the sexual frankness of ‘Help Me Make It Through The Night’; the single went gold,earning Grammys for both Smith and Kristofferson. Smith’s record also boosted Kristofferson’s reputation as one of the best songwriters of his generation.”

Here’s another, this one on Waylon Jennings’ “Amanda”:

“Bob McDill called ‘Amanda’ an apology to his wife, Nan, and it almost became the hit that got away for Waylon Jennings. McDill sent the demo to Waylon’s office, where it got lost. Jennings, who first heard the song when Don Williams’s version came out in 1973, recorded ‘Amanda’ for his 1974 album The Ramblin’ Man. RCA added overdubs nearly five years later; the “new and improved” ‘Amanda’ gave Waylon his seventh No. 1 hit as a solo artist.”

The booklet in the jewel box for the fifth or “bonus” set is flawed in that it only gives information for the first disc in the set.

If you are new to country music and suspect that there is more to the genre than Rascal Flatts, Jason Aldean, Luke Bryan and (ugh) Florida Georgia Line, this set is a good starting point. With the notable exceptions of Ernest Tubb, Carl Smith and Webb Pierce, most of the most significant artists of the period 1952-1988 are represented here, even if there is a bit more Elvis Presley and Olivia Newton-John than I feel is justified. The sound quality is terrific – you won’t hear better recordings of these songs.
Apparently there is a deluxe edition available for purchase which features 270 songs on eighteen discs. In either version the discs average 15 songs per CD (30 songs per set) and cost about $15 per disc or $30 per two disc set. Payment installments are available.

I would give the following grades:

Sound Quality:    A+
Book & Booklets:  A-
Song Selection:  B-
Value:   B-

The song lists as well as ordering information can be found at the Time-Life website.

Predictions for the 50th annual ACM Awards

To celebrate their 50th anniversary, The Academy of Country Music Awards is being held at AT&T Stadium in Dallas, TX  this Sunday on CBS. Blake Shelton is returning for his fifth year as host while Luke Bryan will co-host for the third consecutive time. Notable performers include George Strait, Reba McEntire, Garth Brooks, and Dierks Bentley along with the usual mainstream country suspects. Nick Jonas and Christina Aguilera will also take the stage as part of unique duets.

Along with the regular awards, the ACM will also be handing out specially designed 50th anniversary Milestone Awards to Taylor Swift, Kenny Chesney, Miranda Lambert, Brooks & Dunn, Reba McEntire, Garth Brooks and George Strait. (Swift is expected to accept in person despite distancing herself from the genre).

Check out the nominations, here.

UnknownEntertainer of the Year

Garth Brooks, who has six previous wins, is nominated for the first time since 2001 in a year that saw him break ticket sale records, but underwhelm with his Man Against Machine album. The absence of Taylor Swift, George Strait and Tim McGraw left the category open for some fresh blood, resulting in Florida Georgia Line’s first nomination.

Should Win: Garth Brooks – he continues to show how it’s done, twenty-five years after his debut.

Will Win: Luke Bryan – he’ll ride his CMA momentum all the way to the finish line, scoring his second win in three nominations.

4e35192a48a8e1409d2f92873a0dbab7Male Vocalist of the Year

Despite eight previous nominations with five wins, it’s not shocking to see Brad Paisley included here. But after such an underwhelming year, it’s still surprising to see him included in a six-way tie. Dierks Bentley scores his second nomination in ten years, while half of the remaining four consist of previous winners. Jason Aldean has taken home this award for the past two years.

Should Win: Dierks Bentley – His only previous nomination came in 2005, while he was still in the promotional cycle for his sophomore album. His stature has only risen in the years since, with critical acclaim and consistent support from country radio, making him long overdue for his turn in the spotlight.   

Will Win: Luke Bryan – He’s arguably the biggest male artist in country music right now, eclipsing Aldean, Eric Church, and Blake Shelton with his stadium show, fast rising singles, and immense popularity. There’s little chance he’ll walk away empty handed, taking home his first win on his third consecutive nomination.

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Week ending 3/21/15: #1 singles this week in country music history

16174412_1287061723731955 (Sales): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Jukebox): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Disc Jockeys): In The Jailhouse Now — Webb Pierce (Decca)

1965: I’ve Got A Tiger By The Tail — Buck Owens (Capitol)

1975: Before The Next Teardrop Falls — Freddy Fender (ABC/Dot)

1985: Crazy For Your Love — Exile (Epic)

1995: This Woman And This Man — Clay Walker (Giant)

2005: Nothin’ To Lose — Josh Gracin (Lyric Street)

2015: Take Your Time — Sam Hunt (MCA)

2015 (Airplay): Just Gettin’ Started — Jason Aldean (Broken Bow)

Top 20 Albums of 2014: A Hidebound Traditionalist’s View

Rosanne CashWe didn’t get a chance to run this before the end of the year, but we figured our readers wouldn’t mind reading Paul’s year in review a little late. — Razor X

1. Rosanne Cash – The River & The Thread

This album came out fairly early in the year, and yet I was fairly sure it would be the best new album I would hear in 2014. Elegant and insightful would be the terms I would think best describe this album.

2. Working Man’s Poet: A Tribute to Merle Haggard

So timeless are the songs are the songs of Merle Haggard that even marginal talents such as Jason Aldean and Jake Owen couldn’t mess up the songs. If fact I would regard Aldean’s take on “Going Where The Lonely Go” as he best recording he’s ever made. This tribute album is largely composed of modern country artists (Toby Keith, Parmalee, Dustin Lynch, Kristy Lee Cook, Randy Houser, Joe Nichols, Jake Owen, Jason Aldean and James Wesley) with Merle’s son Ben thrown in for good measure and Garth Brooks on the physical CD available at Walmart. The two tracks by Thompson Square (“You Take Me For Granted”, “Let’s Chase Each Other Around The Room”) are given a playful reading and are my favorite tracks, but every artist keeps the spirit of the Hag alive with these songs.

3. Kelly Willis & Bruce Robison – Our Year

The follow-up to Cheater’s Game dishes up another nice serving of real country music with more focus on newer material but with some covers including a nice take on the Statler Brothers classic “I’ll Go To My Grave Loving You” .

4. Jerry Douglas – Earls of Leicester

An instant classic, this album is almost a theatre piece with various stellar musicians cast in the roles of the members of the classic Flatt & Scruggs lineup of the 1950s and 1960s, doing a program of classic Flatt & Scruggs material. Starring Jerry Douglas on dobro, Barry Bales on bass, Shawn Camp on acoustic guitar and vocals, Johnny Warren – fiddle, Tim O’Brien – mandolin, & Charlie Cushman – banjo and guitar. Johnny Warren is the song of longtime F&S fiddler Paul Warren.

5. Carlene Carter – Carter Girl

Carlene Carter pays tribute to her musical heritage with a classic collection of Carter Family tunes plus a pair of original compositions. These recording have a modern sound that differs from, but is true to, the spirit of the originals.

6. Ray Price – Beauty Is

I wanted to call this the best album of 2014 and if Ray had been in top vocal form I would have, but this is the swan song of a dying man who knows the end is but months away. The album is elegant and heartfelt, in many respects a valentine to his wife of many years.

7. Jeff Bates – Me and Conway

For as popular as Conway Twitty was during his heyday (think George Strait), he has been almost entirely forgotten. A tribute to Conway Twitty is long overdue and while I think a multi-artist album would be nice, if it has to be a single artist tribute album, there is no one better to do it than Jeff Bates, whose voice can sound eerily similar to that of Conway Twitty. The album is about half Conway Twitty songs and half new material including the title track. My favorite tracks are the title track, “Lost In The Feeling” and Jeff’s duet with Loretta Lynn on “After The fire Is Gone” .

8. Mandy Barnett – I Can’t Stop Loving You: The Songs of Don Gibson

Mandy is a masterful singer, if somewhat addicted to slow songs. Don Gibson was a top-drawer song writer, as well as a soulful performer. This album, initially available as a Cracker Barrel exclusive is proof that when you pair great songs with a great singer that very good things can happen. Don’s been gone for over a decade so it’s nice to see someone keep his songs in front of the American public.

9. Ray Price – A New Place To Begin

I am mystified that the tracks on this album went unreleased on an album for so long. During the mid 1980s Ray Price and Snuff Garrett collaborated on a number of successful singles (some of which were used in movie soundtracks) plus some other songs. True, producer Snuff Garrett fell ill somewhere along the line and retired, but Garrett was a big name producer and you would think these would have escaped somehow. This CD features seven chart singles that were never collected on an album, and seven other songs that were never released on an album. Sixteen tracks from one of the masters most featuring more steel guitar than was common for Ray during this period .

10. George Strait – The Cowboy Rides Away (Deluxe Edition)

This album has some flaws including what sounds like auto-tune on some tracks and the standard issue of the album doesn’t warrant a top twenty listing since it has only twenty songs on it. The Deluxe Edition, however, plants you into the middle of a George Strait concert – twenty-eight songs on the two CD set plus the entire 40 song set on the concert DVD with some bonus features. George never did tour extensively and when he hit town, the tickets were expensive and sold out quickly so I never did get to see him live in concert. This set is the next best thing. While the studio recordings are better, this is still worth having.

11. Chris Thile & Edgar Meyer – Bass & Mandolin

This album is a little hard to characterize – it’s not exactly bluegrass, folk, jazz or classical music, but it is all of them and more on the ten featured tunes, all of them co-writes. Meyer plays piano on a few tunes but mostly plays bass. Thile shines on the mandolin. The listener exults in the magic.

12. Sammy Kershaw – Do You Know Me: A Tribute To George Jones

True, Sammy is a distant cousin to Cajun pioneers Rusty and Doug Kershaw, but Sammy’s musical muses were Mel Street and George Jones. Here Sammy pays tribute to George Jones and does it well. My favorite among the dozen Jones hits (plus two new songs) covered is “When The Grass Grows Over Me”.

13. Joe Mullins – Another Day From Life

Joe Mullins has been around the bluegrass scene for a while, but this album was the first of his albums I happened to pick up. It’s very good and I’ll be picking up more of his albums when I hit the bluegrass festival in Palatka, Florida on February 20.

14. Rhonda Vincent – Only Me

Half country/half grass but 100% excellent. I wish that Rhonda would do an entire album of western swing and honky-tonk classics. It was silly to split this up into two six song discs, but I guess that the ears of the bluegrass purists needed protection from the country classics. My favorite track is “When The Grass Grows Over Me” which was also my favorite George Jones song. Rhonda’s takes on “Once A Day” and “Bright Lights and Country Music” are also highlights.

15. Lee Ann Womack – The Way I’m Livin’

It is good to see new music from Lee Ann. I don’t regard this as highly as I did her first few albums, but it is a welcome return to form.

16. Willie Nelson – Band of Brothers

Death, taxes and a new Willie Nelson album are the only things you can really count on seeing every year. This one is up to the usual standards, with Willie having written nine of the fourteen songs on the album.

17. Secret Sisters – Put your Needle Down

I actually liked their debut album better, but this one will appeal more to younger listeners. At this rate they won’t be a secret much longer. Buy it at Cracker Barrel as their version has two extra songs.

18. Sturgill Simpson – Metamodern Sounds in Country Music

A lot has been written about this album, but the truth is that words really don’t adequately describe it. This album requires repeated listening.

19. Dierks Bentley – Riser

I like this album, but I keep expecting more of DIerks Bentley. “Drunk On A Plane” and “I Hold On” were the big radio/ video singles but I don’t think they were the best songs on the album.

20. Cornell Hurd Band – Twentieth Album

In some ways the Cornell Hurd Band is like Asleep At The Wheel, a very versatile band that can handle anything. Both are terrific swing bands but AATW leans more to the jazzy side while the CHB is more honky-tonk and more prone to novelty lyrics. All of their albums are filled with many and varied treasures.

Week ending 11/8/14: #1 singles this week in country music history

Mickey_Gilley1954 (Sales): More and More — Webb Pierce (Decca)

1954 (Jukebox): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Disc Jockeys): More and More — Webb Pierce (Decca)

1964: I Don’t Care (Just As Long As You Love Me) — Buck Owens (Capitol)

1974: I Overlooked An Orchid — Mickey Gilley (Playboy)

1984: City of New Orleans — Willie Nelson (Columbia)

1994: Livin’ On Love — Alan Jackson (Arista)

2004: In A Real Love — Phil Vassar (Arista)

2014: Burnin’ It Down — Jason Aldean (Broken Bow)

2014 (Airplay): Burnin’ It Down — Jason Aldean (Broken Bow)

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

alabama1954 (Sales): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Jukebox): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Disc Jockeys): I Don’t Hurt Anymore — Hank Snow (RCA)

1964: I Don’t Care (Just As Long As You Love Me) — Buck Owens (Capitol)

1974: I See The Want To In Your Eyes — Conway Twitty (MCA)

1984: If You’re Gonna Play In Texas (You Gotta Have A Fiddle In The Band) — Alabama (RCA)

1994: Livin’ On Love — Alan Jackson (Arista)

2004: I Hate Everything — George Strait (MCA)

2014: Burnin’ It Down — Jason Aldean (Broken Bow)

2014 (Airplay): Burnin’ It Down — Jason Aldean (Broken Bow)

It’s that time of year: Predictions for the 48th annual CMA Awards

Logo for "The 48th Annual CMA Awards"With Brad Paisley and a pregnant Carrie Underwood set to host for the seventh straight year, and all the usual suspects set to perform, you’d think business would run as normal. But you’re wrong. Not only will this mark the first CMA telecast without Taylor Swift in nine years, pop starlet Ariana Grande is set to perform with Little Big Town while Meghan Trainor will sing her hit “All About That Bass” with Miranda Lambert. Few other surprises have been announced, but God only knows why Trisha Yearwood has been regulated to a presenter’s slot and not given prime exposure to sing “PrizeFighter” with Kelly Clarkson.

At any rate, here are the nominees. You’ll find my Should Win / Will Win perdictions below. Do you agree/disagree? Sound off in the comments.

Entertainer of the Year

george-strait-credit-vanessa-gavalya-650Blake Shelton and Keith Urban have one trophy apiece while George Strait is nominated the year he gave his final concert. Only Luke Bryan and Miranda Lambert, who are on their second nominations, have yet to win.

Should Win: George Strait – The Country Music Hall of Famer and country music legend wrapped his Cowboy Rides Away Tour a year after beating his younger competition to win this award for the first time in 24 years. When all is said and done, the CMA would be foolish to deny Strait his rightful place as an all-time category winner (four wins), along with Garth Brooks and Kenny Chesney.

Will Win: George Strait – Prissy Luke Bryan can have his turn with his third consecutive nod next year. Strait, who’ll never be eligible for this award again, will go out in style.

Female Vocalist of the Year

m.lambert_264_Rsm_1595A milestone year, as Martina McBride and Miranda Lambert go for their record fifth win and Taylor Swift makes what’ll likely be her final appearance in the category. No artist has won five trophies; only Reba has as many as McBride and Lambert, so it’ll be very interesting to see how the Country Music Association votes this year.

Should Win: Kacey Musgraves – a year after winning Best New Artist and scoring two Grammy Awards, the only nominee who hasn’t won should emerge victorious with just her second nomination. 

Will Win: Miranda Lambert – stranger things have happened, but the artist with the most nominations usually walks away with at least one major award. It’s definitely time to spread the wealth, but that likely won’t come this year, thus helping Lambert make CMA history.

 dierks-600x399Male Vocalist of the Year

Jason Aldean has never been much of a compelling singer, but his radio and touring success should’ve earned him his fourth consecutive nomination. Dierks Bentley is back four years after his last nod, correcting a major oversight, and Keith Urban shows up for the tenth consecutive time.

Should Win: Bentley – it’s a race this year between Bentley and Luke Bryan, both of who deserve first time wins. But Bentley gets the edge thanks to seniority, and it’s about damn time, too.

Will Win: Blake Shelton – the reining champion is about the only one who can stop Bentley’s momentum. His material is getting weaker and his shtick ever more tiresome, but he’ll endure himself to voters anyways.

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Week ending 10/25/14: #1 singles this week in country music history

Conway-Twitty-Portrait1954 (Sales): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Jukebox): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Disc Jockeys): I Don’t Hurt Anymore — Hank Snow (RCA)

1964: I Don’t Care (Just As Long As You Love Me) — Buck Owens (Capitol)

1974: I See The Want To In Your Eyes — Conway Twitty (MCA)

1984: I Don’t Know A Thing About Love (The Moon Song) — Conway Twitty (Warner Bros.)

1994: She’s Not The Cheatin’ Kind — Brooks & Dunn (Arista)

2004: I Hate Everything — George Strait (MCA)

2014: Burnin’ It Down — Jason Aldean (Broken Bow)

2014 (Airplay): Dirt — Florida Georgia Line (Republic Nashville)