My Kind of Country

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

Tag Archives: John Mellencamp

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.

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Fellow Travelers: Gordon Lightfoot (1938-)

gordon lightfootThis is the sixth in a series of short articles about artists who, although not country artists, were of some importance to country music.

WHO WAS HE?

Gordon Lightfoot arguably is Canada’s most successful folk performer with a long string of pop successes in the United States and Canada and some hits in Australia and the UK as well. Gordon had many hits in Canada before breaking through as a singer in the US, but many of his compositions were made hits by American artists including songs such as “Ribbon of Darkness” (Marty Robbins) and “Early Morning Rain” (Peter, Paul & Mary, George Hamilton IV) . Among the other artists who have recorded Lightfoot’s songs are Elvis Presley, Johnny Cash, Hank Williams Jr., The Kingston Trio, Jerry Lee Lewis, Bob Dylan, Judy Collins, Barbra Streisand, Johnny Mathis, Viola Wills, Richie Havens, The Dandy Warhols, Harry Belafonte, Tony Rice, Sandy Denny (with Fotheringay), The Clancy Brothers and Tommy Makem, Scott Walker, Sarah McLachlan, John Mellencamp, Toby Keith, Glen Campbell, Anne Murray, The Irish Rovers and Olivia Newton-John.

As a singer, Gordon’s most successful records were “Sundown”, “If You Could Read My Mind” and “The Wreck of The Edmund Fitzgerald”, the first two reaching #1 in the US and Canada and the latter (a Canadian #1) reaching #2 in the US despite its six-minute length.

WHAT WAS HIS CONNECTION TO COUNTRY MUSIC?

Although Gordon Lightfoot charted eight times on Billboard’s Country charts, only “Sundown” cracked the top fifteen. His real importance to country music is in the huge number of country artists who recorded his songs. George Hamiliton IV recorded many of his songs on various albums scoring hits with “Steel Rail Blues” and “Early Morning Rain”. As noted above, Marty Robbins scored a #1 hit with “Ribbon of Darkness, a song also recorded by Connie Smith, Jack Greene and countless others. Glen Campbell had a hit with “Wherefore and Why”. Legendary bluegrass artists Mac Wiseman and Tony Rice each recorded entire albums of nothing but Gordon Lightfoot songs. Country albums of the late 1960s and the 1970s frequently included a Gordon Lightfoot song.

Gordon doesn’t seem to have an official website but there is a fan site. The site is a bit disjointed but contains much information about Lightfoot, including tour dates.

Album Review: Travis Tritt – ‘My Honky Tonk History’

honkytonkhistoryThe creative renaissance that Travis Tritt enjoyed with the release of Down The Road I Go was unfortunately short-lived; 2002’s Strong Enough was a commercial and critical disappointment and 2004’s My Honky Tonk History, while slightly better than its predecessor, was likewise a mixed bag.

Based on the album’s title, some fans might have been expecting a back-to-basics collection of traditional weepers; if so, those fans were likely quite disappointed, since the album often is anything but traditional. Ironically, the Luke Bryan and Patrick Jason Matthews title track is one of the most rock-leaning tracks Tritt ever released. The track’s production is rather heavy-handed, and this is also the case with the second track “Too Far To Turn Around”. Two tracks into the album I was bracing myself for a tedious listening experience; “The Girl’s Gone Wild” is more mainstream contemporary country but the lyrics are cliched and the whole song sounds like a retread of the Garth Brooks Hit “Ain’t Comin’ Home Til The Sun Comes Up”; a song of which I was never overly fond. The tune seems to have been carefully tailored to the prevailing tastes at country radio, but radio’s response was lukewarm and the tune topped out at #28.

Fortunately things take a turn for the better starting with the fourth track “What Say You”, a duet with John Mellencamp. It’s not a traditional number by any means; it is more in the vein of something that Bob Dylan or The Byrds might have recorded. I’ve never been a fan of Mellencamp’s music but somehow the tune manages to work. It marks Mellencamp’s first –and to my knowledge, only — entry into the country Top 40. The record just missed the Top 20, peaking at #21.

Following “What Say You” is the excellent “Circus Leaving Town”, a traditional steel-guitar drenched number which is by far the album’s best track. “Monkey Around”, a bluesy number written by Delbert McClinton, Benmont Tench, and Gary Nicholson provides a nice change of pace, and Tritt sounds as though he is thoroughly enjoying himself with this tune. “I See Me” is a more mainstream effort, a ballad about a father observing his young son. Earlier in Tritt’s career, this would likely have been a big hit but by this time radio had cooled toward him considerably and the record stalled at #32.

By the last third of the album, the quality begins to taper off again, as the songs become more rock-oriented with offerings like “When Good Ol’ Boys Go Bad”, the anti-commercialism anthem “It’s All About The Money” and the don’t-get-above-your-raisin’ themed “When In Rome”, which closes the album. The two exceptions are the beautiful ballad “We’ve Had It All”, a Tritt co-write with Marty Stuart and “Small Doses” written by Jerry Salley and Chris Stapleton who would later enjoy a stint as lead vocalist for The SteelDrivers. “Small Doses” is the one tune here that sounds as though it belongs on an album titled My Honky Tonk History.

Though it failed to spawn any major hits or earn gold or platinum certification, My Honky Tonk History did reach #7 on the Billboard Top Country Albums chart. His declining popularity with radio and creative differences with Columbia led to Travis’ departure from the label in 2005. With the major label phase of his career now over, he went on to experience even greater difficulties with the independent Category 5, with whom he signed in 2006. Uneven in quality though it is, My Honky Tonk History does contain a few very good tracks and for those alone it is worth picking up a cheap copy.

Grade: B