My Kind of Country

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

Tag Archives: Keith Urban

Week ending 11/26/16: #1 singles this week in country music history

maxresdefault-41956 (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: Somebody Somewhere (Don’t Know What He’s Missin’ Tonight) — Loretta Lynn (MCA)

1986: You’re Still New to Me — Marie Osmond with Paul Davis (Capitol/Curb)

1996: Strawberry Wine — Deana Carter (Capitol)

2006: Before He Cheats — Carrie Underwood (Arista)

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

2016 (Airplay): Middle of a Memory — Cole Swindell (Warner Bros.)

Week ending 11/19/16: #1 singles this week in country music history

hqdefault-121956 (Sales):Singing the Blues — Marty Robbins (Columbia)

1956 (Jukebox): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

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

1966: I Get The Fever — Bill Anderson (Decca)

1976: Somebody Somewhere (Don’t Know What He’s Missin’ Tonight) — Loretta Lynn (MCA)

1986: That Rock Won’t Roll — Restless Heart (RCA)

1996: Lonely Too Long — Patty Loveless (Epic)

2006: Before He Cheats — Carrie Underwood (Arista)

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

2016 (Airplay): Move — Luke Bryan (Capitol)

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

Read more of this post

Album Review: Lonestar – ‘Crazy Nights’

600x600Lonestar released their second album, and last with John Rich, in June 1997. Crazy Nights continued in the tradition of their debut by keeping Don Cook and Wally Wilson at the helm.

The bright, effervescent and otherwise excellent “Come Cryin’ To Me” led the album and became the band’s second #1 single. The perfectly styled tune, with Cook’s signature percussion beats, was one of four tunes co-written by Rich.

They followed with “You Walked In,” a mid-tempo ballad that stalled at #12. The song, co-written by Robert John “Mutt” Lange, is sexy without being overt:

Everybody’s talkin’ ’bout the supermodel world

Cindy, Naomi and that whole bunch of girls

Redheads, brunettes and blondes with blue eyes

They come in every shape yea they come in every size

You know I love everything they do

I check ’em out on every Pay-Per-View

Oh, but honey that was way before I met you.

And then

***

You walked in with legs up to your neck

You walked in I’m a physical wreck

You walked in I’ve lost my cool babe

But what’d you expect

When you walk in baby love begins

When you walk by baby ooh my my

When you come around, my jaw hits the ground

When you shake your thing I jump outta my skin

When you cross the floor I scream “more baby more”

When you flash your smile you drive me wild

Yea, yea, yea, yea, yea

***

Everybody’s checkin’ out the glossy magazines

Madonna, Diana, you know the whole scene

The covergirls, the centerfolds and every movie star

And all those pretty ladies down there at the local bar

I couldn’t think of nothin’ better to do

Than checkin’ out a little wiggle or two

Oh, but honey that was way before I met you

“You Walked In,” may’ve been too left of center for country radio at the time, but it’s laughably tame in comparison to what the likes of Dierks Bentley, Keith Urban and Sam Hunt have gotten away with in the past few years. Piano ballad “Say When,” another Rich co-write faired just as poorly, peaking at #13.

They regained their stride with the album’s final and strongest single, the Richie McDonald co-written “Everything’s Changed.” The song tells the story of a woman returning to a now unrecognizable town and the man she left behind who still lives there. It’s not only my favorite song they’ve ever done, it’s their finest recorded moment to date:

Funny you should show up after all of these years

Yeah things sure have changed around here

Seen a lot of strangers since they put that interstate through

No this ain’t the same town that we once knew

***

They put up a plant where we used to park

That ol’ drive-in’s a new Wal-Mart

The caf¨¦ is closed where our names were carved on that corner booth

Yeah, everything’s changed except for the way I feel about you

***

That westbound to Santa Fe don’t stop here anymore

You were one of the last to get on board

That street that we grew up on you wouldn’t recognize

Girl nothing’s been the same since you said good-bye

Rich, who was still known as the band’s other lead singer, took the helm on two of the three non-singles he co-wrote. “John Doe on a John Deere” has all the tropes now associated with bro-country expect the woman isn’t treated like an object. Meanwhile “What Do We Do With The Rest of the Night” is simply pure fluff. His final co-write, the title track, has forceful production but not much passion either lyrically or vocally from McDonald.

“Keys To My Heart,” which McDonald co-wrote, is a pleasant contemporary rocker with ample fiddle and steel. The song doesn’t have any meat lyrically, so while it’s enjoyable to listen to, it’s just not a great song overall.

“Cheater’s Road,” which was co-written by Jason Sellers, saw a second life when Chalee Tennison included it on 2003’s Parading In The Rain. I like her version much better than theirs, although it’s truly not that compelling of a song to begin with. The final cut, “Amie” is a by-the-books cover of the Pure Prairie League classic that works surprisingly well.

Crazy Nights will forever be known as the final album before everything changed. Not only would Rich exit the group, but they would ditch their producers and cowboy hats for a more mainstream sound and their greatest success. Here is the band just two years before the craziness, with a clear direction and a couple of worthy songs.

I will always regard this era, 1995-1999, as Lonestar at their best – the songs were smart and interesting and Cook’s signature style fit them well. McDonald, though, was clearly the stronger singer. While John has shown improvement with Big & Rich, he clearly isn’t in top vocal form, here. I don’t blame BNA for pushing McDonald as the face of the band at all.

As an album, Crazy Nights is good but not great. There’s nothing truly essential beyond the lead and final singles.

Grade: B

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

hqdefault-71956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

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

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

1966: Think of Me — Buck Owens (Capitol)

1976: The Door Is Always Open — Dave & Sugar (RCA)

1986: Hearts Aren’t Made to Break (They’re Made to Love) — Lee Greenwood (MCA)

1996: No One Needs to Know — Shania Twain (Mercury)

2006: Summertime — Kenny Chesney (BNA)

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

2016 (Airplay): Wasted Time — Keith Urban (Capitol)

Week ending 7/9/16: #1 singles this week in country music history

1956 (Sales): Heartbreak Hotel — Elvis Presley (RCA)

18012-10-21956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

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

1966: Think of Me — Buck Owens (Capitol)

1976: All These Things — Joe Stampley (Dot)

1986: Everything That Glitters (Is Not Gold) — Dan Seals (EMI America)

1996: Time Marches On — Tracy Lawrence (Atlantic)

2006: Summertime — Kenny Chesney (BNA)

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

2016 (Airplay): Wasted Time — Keith Urban (Capitol)

Album Review: Martina McBride – ‘Reckless’

71DYXrOa+jL._SX522_Martina McBride has been suffering from a bad case of the dulls for about a decade now. 2005’s Timeless was her last worthwhile effort and I have to admit that I pretty much wrote her off after that. The mere fact that we’ve waited a full month to review her latest album is a testimony to how low our expectations were. In fairness, though, the new album is an improvement over all of her recent output, albeit only slightly.

Reckless — a rather tame and subdued affair despite its title — is her debut release for the recently formed Nash Icon Records. The imprint, a joint venture between Big Machine and Cumulus Media, was formed to give a home to veteran artists so that they no longer had to compete with newer acts for radio airplay. The idea was to create a new radio format for these displaced veterans, and to give them the artistic freedom to record what they wanted without having to worry about chasing the latest trends. The problem is that the radio format never really took off and none of the artists on the Nash Icon roster seem to be doing anything differently from before. McBride partnered up with producers Nathan Chapman and Dann Huff, which pretty much guaranteed that nothing new,innovative or very country-sounding was going to result.

Reckless does contain a handful of decent songs, which are unfortunately ruined by heavy-handed, synthesizer-laden production. In its better moments it is somewhat reminiscent of Evolution, which remains one of my favorite McBride albums, but even those moments don’t quite reach the lofty heights of that 1997 masterpiece. The title track, which serve as the album’s first single, gets the album off to a good start. It’s a catchy number that I really like; I just wish the intrusive background vocals had been left off. “Low All Afternoon”, my favorite track, is a very nice ballad about “the other woman” who comes out on the losing side when she forces her lover to choose between her and his fiancee. It features a nice steel guitar solo, but like “Reckless”, it is marred by “oohing and ahhing” background vocals. “The Real Thing” is a better than average “laundry list” song, on which guest Buddy Miller’s harmony vocals are drowned out by the overly loud electric guitars. “We’ll Pick Up Where We Left Off” is one of the album’s quieter selections. It’s a decent song, again marred by the background vocals and annoying handclaps. The closing track “You and You Alone” is torchy and totally non-country piano ballad that nicely showcases Martina’s beautiful vocals.

The rest of the album, including “Diamond”, featuring the always boring Keith Urban, is not worth mentioning in any great detail.

Reckless exceeded my admittedly low expectations. It’s more AC than country and not particularly interesting but it’s still better than anything Martina has released in quite a long time.

Grade: B-

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

Country singer Josh Turner is shown in Nashville, Tenn., Oct. 9, 2007. At a time when much of Nashville seems to be retreading classic rock and pop, Turner has found success with sticking to traditional country music. While he's not the only country singer with a traditional sound, he's one of the few selling millions of records. (AP Photo/Mark Humphrey)

Country singer Josh Turner is shown in Nashville, Tenn., Oct. 9, 2007. At a time when much of Nashville seems to be retreading classic rock and pop, Turner has found success with sticking to traditional country music. While he’s not the only country singer with a traditional sound, he’s one of the few selling millions of records. (AP Photo/Mark Humphrey)

1956 (Sales): Why Baby Why — Red Sovine & Webb Pierce (Decca)

1956 (Jukebox): I Forgot to Remember to Forget — Elvis Presley (Sun)

1956 (Disc Jockeys): Why Baby Why — Red Sovine & Webb Pierce (Decca)

1966: Waitin’ in Your Welfare Line — Buck Owens & The Buckaroos (Capitol)

1976: Good Hearted Woman — Waylon Jennings & Willie Nelson (RCA)

1986: Think About Love — Dolly Parton (RCA)

1996: I’ll Try — Alan Jackson (Arista)

2006: Your Man — Josh Turner (MCA)

2016: Die a Happy Man — Thomas Rhett (Valory)

2016 (Airplay): Break On Me — Keith Urban (Capitol)

Week ending 11/28/15: #1 singles this week in country music history

dicky11955 (Sales): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Jukebox): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Disc Jockeys): Love, Love, Love — Webb Pierce (Decca)

1965: May the Bird of Paradise Fly Up Your Nose — Little Jimmy Dickens (Columbia)

1975: Rocky — Dickey Lee (RCA)

1985: I’ll Never Stop Loving You — Gary Morris (Warner Bros.)

1995: Check Yes or No — George Strait (MCA)

2005: Better Life — Keith Urban (Capitol)

2015: Tennessee Whiskey — Chris Stapleton (Mercury)

2015 (Airplay): I’m Comin’ Over — Chris Young (RCA)

Week ending 11/21/15: #1 singles this week in country music history

Chris+Stapleton+Celebs+O+Music+Awards+Nashville+YXyP6PSnHqll1955 (Sales): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Jukebox): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Disc Jockeys): Love, Love, Love — Webb Pierce (Decca)

1965: May the Bird of Paradise Fly Up Your Nose — Little Jimmy Dickens (Columbia)

1975: Are You Sure Hank Done It This Way/Bob Wills is Still the King — Waylon Jennings (RCA)

1985: Hang On to Your Heart — Exile (Epic)

1995: Check Yes or No — George Strait (MCA)

2005: Better Life — Keith Urban (Capitol)

2015: Tennessee Whiskey — Chris Stapleton (Mercury)

2015 (Airplay): Break Up With Him — Old Dominion (ReeSmack/RCA)

Week ending 11/14/15: #1 singles this week in country music history

images-71955 (Sales): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Jukebox): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Disc Jockeys): Love, Love, Love — Webb Pierce (Decca)

1965: Behind the Tear — Sonny James (Capitol)

1975: I’m Sorry — John Denver (RCA)

1985: Can’t Keep a Good Man Down — Alabama (RCA)

1995: Check Yes or No — George Strait (MCA)

2005: Better Life — Keith Urban (Capitol)

2015: Die a Happy Man— Thomas Rhett (Valory)

2015 (Airplay): Break Up With Him — Old Dominion (ReeSmack/RCA)

Week ending 11/7/15: #1 singles this week in country music history

MI00013407091955 (Sales): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Jukebox): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Disc Jockeys): Love, Love, Love — Webb Pierce (Decca)

1965: Hello Vietnam — Johnnie Wright (Decca)

1975: (Turn Out the Light) And Love Me Tonight — Don Williams (ABC/Dot)

1985: Some Fools Never Learn — Steve Wariner (MCA)

1995: Dust on the Bottle — David Lee Murphy (MCA)

2005: Better Life — Keith Urban (Capitol)

2015: Strip It Down — Luke Bryan (Capitol)

2015 (Airplay): Strip It Down — Luke Bryan (Capitol)

Week ending 10/31/15: #1 singles this week in country music history

31d3e50153875f53598ce659e94d2d241955 (Sales): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Jukebox): That Do Make It Nice — Eddy Arnold (RCA)

1955 (Disc Jockeys): Love, Love, Love — Webb Pierce (Decca)

1965: Hello Vietnam — Johnnie Wright (Decca)

1975: San Antonio Stroll — Tanya Tucker (MCA)

1985: Touch a Hand, Make a Friend — The Oak Ridge Boys (MCA)

1995: Dust on the Bottle — David Lee Murphy (MCA)

2005: Better Life — Keith Urban (Capitol)

2015: Strip It Down — Luke Bryan (Capitol)

2015 (Airplay): Strip It Down — Luke Bryan (Capitol)

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.

Week ending 10/24/15: #1 singles this week in country music history

220px-Johnnie_Wright_19641955 (Sales): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Jukebox): That Do Make It Nice/Just Call Me Lonesome — Eddy Arnold (RCA)

1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)

1965: Hello Vietnam — Johnnie Wright (Decca)

1975: Hope You’re Feelin’ Me (Like I’m Feelin’ You) — Charley Pride (RCA)

1985: You Make Me Want To Make You Mine — Juice Newton (RCA)

1995: She’s Every Woman — Garth Brooks (Capitol)

2005: Better Life — Keith Urban (Capitol)

2015: Strip It Down — Luke Bryan (Capitol)

2015 (Airplay): Lose My Mind — Brett Eldredge (Atlantic)

Week ending 6/27/15: #1 singles this week in country music history

2247383-21955 (Sales): In The Jailhouse Now — Webb Pierce (Decca)

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

1955 (Disc Jockeys): Live Fast, Love Hard, Die Young — Faron Young (Capitol)

1965: Before You Go — Buck Owens (Capitol)

1975: You’re My Best Friend — Don Williams (ABC/Dot)

1985: Little Things — The Oak Ridge Boys (MCA)

1995: Texas Tornado — Tracy Lawrence (Atlantic)

2005: Making Memories Of Us — Keith Urban (Capitol)

2015: Girl Crush — Little Big Town (Capitol)

2015 (Airplay): Wild Child — Kenny Chesney with Grace Potter (Blue Chair/Columbia)

Week ending 6/20/15: #1 singles this week in country music history

linda-ronstadt1955 (Sales): In The Jailhouse Now — Webb Pierce (Decca)

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

1955 (Disc Jockeys): Live Fast, Love Hard, Die Young — Faron Young (Capitol)

1965: Ribbon of Darkness — Marty Robbins (Columbia)

1975: When Will I Be Loved — Linda Ronstadt (Capitol)

1985: Country Boy — Ricky Skaggs (Epic)

1995: Summer’s Comin’ — Clint Black (RCA)

2005: Making Memories Of Us — Keith Urban (Capitol)

2015: Girl Crush — Little Big Town (Capitol)

2015 (Airplay): Sippin’ on Fire — Florida Georgia Line (Republic Nashville)

Week ending 6/13/15: #1 singles this week in country music history

images-31955 (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: What’s He Doing In My World — Eddy Arnold (RCA)

1975: Window Up Above — Mickey Gilley (Playboy)

1985: Natural High — Merle Haggard (Epic)

1995: Summer’s Comin’ — Clint Black (RCA)

2005: Making Memories Of Us — Keith Urban (Capitol)

2015: Girl Crush — Little Big Town (Capitol)

2015 (Airplay): Smoke — A Thousand Heroes (Republic Nashville)

Week ending 6/6/15: #1 singles this week in country music history

johndenver1955 (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: What’s He Doing In My World — Eddy Arnold (RCA)

1975: Thank God I’m A Country Boy — John Denver (RCA)

1985: Don’t Call Him A Cowboy — Conway Twitty (Warner Bros.)

1995: Summer’s Comin’ — Clint Black (RCA)

2005: Making Memories Of Us — Keith Urban (Capitol)

2015: Girl Crush — Little Big Town (Capitol)

2015 (Airplay): Don’t It — Billy Currington (Mercury)

Week ending 5/30/15: #1 singles this week in country music history

f4ac01695547e2a27830265b2fa433c0_lg1955 (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: This Is It — Jim Reeves (RCA)

1975: I’m Not Lisa — Jessi Colter (Capitol)

1985: Radio Heart — Charly McClain (Epic)

1995: What Mattered Most — Ty Herndon (Epic)

2005: Making Memories Of Us — Keith Urban (Capitol)

2015: Girl Crush — Little Big Town (Capitol)

2015 (Airplay): A Guy Walks Into A Bar — Tyler Farr (Columbia)