Country music from a fan's point of view since 2008
1958: City Lights — Ray Price (Columbia)
1968: Born To Be With You — Sonny James (Capitol)
1978: The Gambler — Kenny Rogers (United Artists)
1988: A Tender Lie — Restless Heart (RCA Nashville)
1998: Let Me Let Go — Faith Hill (Warner Bros.)
2008: Chicken Fried — Zac Brown Band (Atlantic)
2018: Speechless — Dan + Shay (Warner Nashville)
2018 (Airplay): Best Shot — Jimmie Allen (Stoney Creek)
1958: City Lights — Ray Price (Columbia)
1968: Stand By Your Man — Tammy Wynette (Epic)
1978: On My Knees — Charlie Rich with Janie Fricke (Epic)
1988: If You Ain’t Lovin’ (You Ain’t Livin’) — George Strait (MCA)
1998: It Must Be Love — Ty Herndon featuring Sons of the Desert (Epic)
2008: Chicken Fried — Zac Brown Band (Atlantic)
2018: Speechless — Dan + Shay (Warner Nashville)
2018 (Airplay): Lose It — Kane Brown (RCA Nashville)
Do you remember where you were exactly ten years ago? Barack Obama has just defeated John McCain to win his first of two-terms as our 44th President. The United States was beginning to feel the effects of the Great Recession. On our radios, a hot new group out of Georgia was dominating the charts. This week in 2008, Zac Brown Band logged their first of two consecutive weeks at #1 with their debut single “Chicken Fried.” On the album’s chart, it was Taylor Swift’s just-released Fearless, logging its third consecutive week at #1, with no signs of slowing down.
In the country blogosphere, J.R. Journey launched My Kind of Country. Our little blog was born ten years ago tomorrow on Dec. 8, 2008. On that day, J.R. wrote:
Welcome to the My Kind Of Country blog. Here, you will find reviews, editorials, and discussions about the country music we love – our kind of country. The idea is simple: rather than write lots of negative reviews about the new music that’s coming out – because let’s face it, much of what comes out of Nashville and your country radio dial is crap – we are going to write about the music we love. The music that moves us, drives us, and makes us laugh and cry; the music that touches us. Not that we will spend our time posting fangirl gushes about a select group of artists that are among our favorites. To the contrary, we intend to post about the music we love and tell you why we love it, and of course, how we think it could be improved upon.
It’s been an ambitious mission from the start. Erik wrote our first album review, a glowing critique of LeAnn Rimes’ Family, on Dec. 10. Our first spotlight artist? Oh, that was Miss Leslie and her Juke-Jointers in January 2009. Through the years we’ve seen many writers retire their individual perspectives on country music, from our friends Erik, Rainbow, Chris Dean, Megan Morrow, and Razor X to our fearless leader himself, J.R.
I won’t begin to assert I’m an historian on all things MKoC. I joined the team in June 2011 after I had become enamored with their Spotlight Artist coverage of Emmylou Harris in April. After reading a few of their reviews, I digitally downloaded her solo albums from the 1970s and composed a post on my own blog, entitled “New Artist Obsession: Emmylou Harris.” I had included a link to their coverage, which garnered the attention of J.R. and Razor X. I had no idea how impressed J.R. would be with my work, nor was I gunning for anyone’s attention. Shortly thereafter he sent me an email and asked me to join the team, an honor I accepted happily and excitedly. My first post was a single review for Julie Roberts’ “NASCAR Party” that ruffled a few feathers with her publicity team. I then contributed two single reviews to their Randy Travis coverage that month, among other reviews, and was off to the races.
But this isn’t solely about me. My Kind of Country has and always will be about a passionate group of fans sharing their thoughts and perspectives on country music with a critical ear. Two of our longest contributing writers, Razor X, and Occasional Hope, became members of the team in Feb. 2009. Razor’s first post, “Rediscovering Forgotten Gems” found him taking a look back at albums, with a focus on Randy Travis, he had the urge to revisit. Occasional Hope introduced herself to readers through “Finding Country,” in which she shared how she came to love country music. Paul W. Dennis joined just before I did in 2011. The 9513 had just shuttered and J.R. asked him to continue his Country Heritage series with us. His first post was “Country Heritage: Gary Stewart – A Short Life Of Trouble (1944-2003).”
A while back, a friend had asked me if they could take a look at work on MKoC and even proceeded to print it out in order to read it (yes, I also thought that was strange). In doing so, he made a comment I’ve never forgotten. He said the blog had a really great title and I instantly knew what he meant. He didn’t say it, but he was referring to the idea that as a group of writers we’re each sharing the country music we love individually, writing pieces that reflect our love of the genre, not just getting assigned albums and singles we may or may not care enough about to compose a thoughtful post. I hadn’t looked at it that way, but he was correct in every sense of the word.
I also often think about how hard it is to keep a blog going and just how many have come and gone in the ten years we’ve been alive. It’s easy for readers to overlook the fact that our positions as staff writers aren’t our full or even part-time jobs. MKoC is a labor of love we create out of passion for country music. It takes a village to keep a blog vital, which is why The 9513 and Country California have ceased publication. Engine 145 only ended once Juli Thanki received a prestigious position with The Tennessan, which has led to exciting opportunities for her in 2019. Ken Morton, Jr’s That Nashville Sound is still going strong and Country Universe is still around, after 14 years, albeit in an abbreviated form.
Little did J.R. realize in his inaugural post when he wrote: “much of what comes out of Nashville and your country radio dial is crap.” He never could’ve known the assault on the very ideals of commercial country music that was coming down the line with bro-country and whatever the heck you call what’s followed in its wake. It’s ironic, at least to me, that the peak years for country blogging have coincided with the continued release of literally the worst music our beloved genre has ever produced. At least we’ve learned there are alternatives and still some pretty awesome music being made if you know where to look.
I know this post is long, but heck, you only celebrate your tenth anniversary once. We would not be here if it wasn’t for our continued passion for country music, but even more importantly, our readers. Thank you for continuing to make us and our writing a part of your lives. Please continue to comment and engage with us on our posts. We always love reading and responding to whatever you have to say.
Onward.
The Zac Brown Band, always eclectic, took that spirit rather too far in their last, terrible, album. Evidently chastened by fans’ lack of enthusiasm for their new direction, they have returned to more organic (though not necessarily paticularly country) sounds on their latest release, their first for Elektra. They have turned to Dave Cobb to produce the album.
The overarching theme is one of home, and family, a mood set by the charming lead single, ‘My Old Man’. A touching tribute to Zac’s late father set to a gentle melody, this is a true delight. The piano-led ‘Real Thing’ is also very good, with a nostalgic look back to a father or grandfather who teaches Zac you can’t substitute for the best, a lesson which he applies to other things in life. (Coca cola, most associated with the title phrase, is not mentioned by name, but the band’s Atlanta background makes it an inescapable point of reference – if Zac’s lucky he might get this picked up for a commercial; if he’s unlucky he could get sued.)
‘Family Table’ is a fond ode to a welcoming home, which I liked. ‘2 Places At 1 Time’ is about the competing lures of home and away, and is a nicely delivered wistful ballad. ‘Long Haul’ is quite pleasant but a little forgettable, with a 70s country-rock-AC ballad feel.
All but one of the songs were composed by the writing team of Brown, Niko Moon and Ben Simonetti, with occasional outside help, not necessarily for the better. Indeed, it is with the co-writes that the album gets off course. Band member Coy Bowles co-wrote the opening tune, ‘Roots’. This is a good but ironically slightly over produced big ballad about the lure of music and a musician’s life. ‘Start Over’, co-written with rapper/producer Pharrell, is one of the band’s signature Caribbean styled tunes, which (although not really my cup of tea) is quite well suited to the lyric (about getting away to the beach as a way of reconnecting with an ex). Some introductory yelping, however, should definitely have been dispensed with – it sets my teeth on edge every time I hear it.
‘Your Majesty’ is a pretty love song, written by the guys with Kenny Habul (an Australian race car driver and solar power entrepreneur, who was mixed up in Zac Brown’s 2016 drugs bust), marred by slightly annoying production, particularly annoying ah-oh interjections. Aslyn, a female pop singer-songwriter from Atlanta with a powerful voice, co-wrote and duets on rock ballad ‘Trying To Drive’. The song is nothing special and not country at all), and the production too heavy, but the vocals are strong in their own style.
The album closes with a fine cover of John Prine’s ‘All The Best’, a pained and subtly bitter farewell to a former love:
Well I guess love
Is like a Christmas card
Decorate a tree
And throw it in the yard
It decays and dies
And the snowman melts
Well I knew love
I knew how love feltI knew love
Oh, love knew me
When I walked around
Love walked with me
But I got no hate
And I got no pride
Well I got
So much love
That I cannot hide
This is a definite highlight.
This is less of a return to form than I had hoped, and there are few standout moments other than ‘My Old Man’ and ‘All The Best’. Those two tunes are definitely worth downloading, and the whole thing is probably worth checking out if you’re a fan. There is also not much variation in tempo. One cannot help wondering if the band’s hearts are really elsewhere.
Grade: B-
Those only intimately familiar with Sawyer Brown’s output in the 1990s, may be surprised to learn the origins of the group are traceable back to the mid-1980s when Mark Miller and the boys competed on and won Star Search. With the $100,000 prize in their pockets and a recording contract with Capitol/Curb Records, they entered the studio to record a self-titled album released in 1984. The album peaked at #2 and their second single, “Step That Step” was their first #1 hit.
Sawyer Brown would hit the top ten just four more times in their first decade, where big hits included “That Missing You Heart of Mine” and an iconic cover of the George Jones classic “The Race Is On.” Their fortunes changed in 1991 when they dropped the slick sound that had become their trademark with “The Walk,” a stunning ballad about the cycles of life solely written by Miller. The song returned them to #2 for the first time in four years.
The band’s greatest period of consistency followed, with their next eight singles reaching the top 5. “Some Girls Do” and “Thank God For You” were the band’s second and third number one hits, respectively. This uptick in their commercial fortunes is related to the addition of Mac McAnally, who wrote some of the hits and co-produced a number of the albums reasonable for changing perceptions and allowing both fans and critics to take the band seriously.
McAnally’s contributions include “Cafe on the Corner,” a masterwork in blue-collar oppression. “All These Years” tackles infidelity, with a husband confronting his wife while she’s in bed with her lover. He and Miller co-produced four of the band’s albums, beginning with Outskirts of Town in 1993 and ending with 1999’s Drive Me Wild. Sawyer Brown’s final major hit was the title track to the latter project, which hit #6 in 1999. Two years prior they took a cover of Dave Dudley’s “Six Days On The Road” to #13 while their take on “This Night Won’t Last Forever,” a pop hit for Michael Johnson in 1979, hit #6.
While our spotlight of Sawyer Brown will conclude with their Six Days on the Road album, released in 1997, the band has been recording into the new millennium. Their aforementioned Drive Me Wild album was issued with Miller dancing courtesy of a hologram cover image in 1999. Just three more albums have followed in the years since all of which have yielded singles that either charted low or didn’t chart at all. The band’s most recent single, the failed “Walk Out of the Rain” was issued back in 2014.
As far as distinctions go Sawyer Brown was never able to walk away with the CMA Award for Vocal Group of the Year, despite seven consecutive nominations between 1992-1998. This feat has since been tied, by Zac Brown Band, who also has seven consecutive nominations (2010-2016) without a win. Like Sawyer Brown, Zac Brown Band has also won the CMA New Artist Award.
The Zac Brown Band have always maintained that they are not a strictly country band; however, they they have been one of the few (mostly) bright spots at country radio over the past decade. With the release of the polarizing Jekyll + Hyde album, they ventured into the world of EDM and reggae. It didn’t seem to hurt them commercially but it did alienate many of their fans. The Band now seems to be extending an olive branch to those fans with their new release, “My Old Man”.
Written by Zac Brown with Niko Moon and Ben Simonetti, “My Old Man” is the latest in country music’s long-standing tradition of honoring one’s parents. It channels old chestnuts as “Coal Miner’s Daughter”, “Daddy’s Hands”, “That’s My Job” and “Love Without End, Amen” and delivers essentially the same message as those classic songs. While it doesn’t break any new ground, it does take the initial steps needed to get country music in general – and the Zac Brown Band in particular – back on track artistically.
A sparsely arranged ballad consisting of acoustic guitar, a little fiddle, a subtle string arrangement and the Band’s trademark harmonies, “My Old Man” opens with the narrator’s boyhood reminiscences of his father. In the second verse, the narrator is grown with a son of his own. The third verse reveals that the narrator’s father has passed away. The narrator expresses hope that he can live up to the example that was set for him, and looks forward to an eventual reunion with his father in the afterlife.
“My Old Man” was produced by Dave Cobb, best known for his work with Chris Stapleton, Jason Isbell and Sturgill Simpson. It’s the refreshing glass of water that fans have been crying out for during a long drought in the bro-country desert. I look forward to hearing the Band’s forthcoming album.
Grade: A
1956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)
1956 (Jukebox): I Forgot to Remember to Forget/Mystery Train — Elvis Presley (Sun)
1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)
1966: Waitin’ in Your Welfare Line — Buck Owens & The Buckaroos (Capitol)
1976: ‘Til the Rivers All Run Dry — Don Williams (ABC/Dot)
1986: Don’t Underestimate My Love for You — Lee Greenwood (MCA)
1996: You Can Feel Bad — Patty Loveless (Epic)
2006: Living In Fast Forward — Kenny Chesney (BNA)
2016: You Should Be Here — Cole Swindell (Warner Bros.)
2016 (Airplay): Beautiful Drug — Zac Brown Band (Southern Ground/Republic)
Of all the criticisms I can level at mainstream country this year, the most unnerving is the brazen shamelessness of artists who’ve gone out of their way to change everything they’re about in order to chase a bigger high that doesn’t exist. More than adapting to changing trends, artists like Zac Brown Band and The Band Perry have abandoned their earnestness and sold their souls to Scott Borchetta, who interfered with their artistry in order to fill his pockets.
Carrie Underwood, luckily, isn’t on the Big Machine Label Group. That being said, I was still nervous about the direction of Storyteller. To compete in a tomato-smeared world, how much would she have to veer from the sound that made her a household name?
As much as I admire Underwood’s music, I cannot help but feel her output has been geared toward the right now, with songs that don’t stand the test of time. A lot of her music, especially the rockers, just isn’t strong enough to carry the nostalgia we now feel for the 1990s country we all love. She’s an incredible vocalist, and when she’s on point, no one can hold a candle to her.
That’s why I’m always excited when she releases new music. I’m even more pleased she and Arista Nashville added Jay Joyce and Zach Crowell as producers alongside Mark Bright. Underwood and Bright have been a well-oiled machine going on ten years, but it’s time to change it up for the sake of variety.
Our first taste of the switch-up is the Joyce produced “Smoke Break,” a rocker Underwood co-wrote with Chris DeStefano and Hillary Lindsay. It’s easily one of the most country songs on the radio right now, with Underwood’s natural twang carrying the somewhat generic story quite nicely. I only wish Joyce had dialed it back on the chorus, going for a more organic punch than the screaming rock that drowns Underwood out.
Likely second single “Heartbeat,” which features Sam Hunt and was produced by his orchestrator Crowell, finds Underwood in a field with her man ‘dancing to the rhythm of [his] heartbeat.’ The track, which Underwood and Crowell co-wrote with Ashley Gorley, is a pleasant pop ballad that finds Underwood nicely subdued.
She also co-wrote four other tracks on the album. “Renegade Runaway” kicks off Storyteller with bang. The rocker, co-written with her “Smoke Break” comrades, is slinky and fun but suffers from a god-awful chorus that renders the song almost unlistenable. Mike Elizondo, best known for his work with Drake and Eminem, was brought in collaborate with Underwood and Lindsay on club thumper “Chaser.” The results are immature at best and showcase Underwood at her most watered down.
Fortunately, Underwood rebounds with her final two co-writes. Underwood and Lindsay turned to David Hodges to write “The Girl You Think I Am,” an ode to her father in the vein of “Mama’s Song” from Play On. It’s a beautiful prayer about acceptance, from a daughter who wants to overcome her insecurities to live up to her father’s expectations.
The other, “What I Never Knew I Always Wanted,” is the centerpiece of Storyteller even though it closes the album. Underwood isn’t an artist who normally looks from within for inspiration, so it’s rare when she finds inspiration in her own life for a song. The results aren’t spectacular – she could’ve gone a lot deeper lyrically and found even a little hint of country music in the execution – but she’s gotten her feet wet for future moves in this direction.
Storyteller wouldn’t be an Underwood album unless she revisits the murderous themes that have become her touchstone. These songs have grown into bigger productions in the ten years since “Before He Cheats” and usually suffer from a lack of subtlety. That doesn’t change much here, although they are kind of fun to listen to. “Choctaw County Affair” showcases Underwood’s growth as a vocalist with a delicious story about a woman’s mysterious death. “Church Bells” is an excellent backwoods rocker about domestic abuse. “Dirty Laundry,” on the other hand, is juvenile and revisits themes already too well worn. “Mexico,” about bandits on the run, isn’t the island song you’d expect but a typical Underwood rocker.
On every Underwood album there’s one song that stands out from the rest, a likely non-single that’ll always be a much-appreciated deep album cut. On Storyteller that distinction goes to sensual ballad “Like I’ll Never Love You Again,” written by the CMA Song of the Year winning team behind “Girl Crush.” Underwood delivers flawlessly, while the lyric is the strongest and most well written on the whole album.
“Relapse” is nothing more than a blown out pop power ballad that does little to advance Underwood’s artistry beyond the fact she showcases new colors in her voice. “Clock Don’t Stop,” another ballad, suffers from a hip-hop inspired chorus that relies far too heavily on drawn out one syllable words and yeahs in place of actual lyrics.
Storyteller is an odd album. I refuse to judge its complete lack of actual country music as a flaw even though it hurts the proceedings quite a bit. There are some listenable pop songs here, like “Heartbeat,” but most of this music is below Underwood’s talent level. The deliciousness of “Choctaw County Affair” saves it from the scrap heap while the articulate lyric of “Like I’ll Never Love You Again” is very, very good. But there isn’t much here that doesn’t feel like poorly written middle of the road pop/rock passing as modern country.
I give Underwood complete credit for changing up her sound and trying something new. It just isn’t to my taste at all. I much prefer the powerhouse who gave us the one-two-punch of “Something In The Water” and “Little Toy Guns.” That’s the Carrie Underwood I could listen to all day.
Grade: B-
The 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.
Entertainer of the YearGarth 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.
The 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.
Miranda 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.
Vocal Group of the YearBoth 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.
Vocal Duo of the YearCompetition 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).
Thomas 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.
Album of the YearJason 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.
Single of the Year and Song of the YearThe 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.
A 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.
It 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.
Musician Event of the YearMac 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.
1955 (Sales): I Don’t Care — Webb Pierce (Decca)
1955 (Jukebox): I Don’t Care — Webb Pierce (Decca)
1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)
1965: Yes, Mr. Peters — Roy Drusky & Priscilla Mitchell (Mercury)
1975: Rhinestone Cowboy — Glen Campbell (Capitol)
1985: Real Love — Dolly Parton with Kenny Rogers (RCA)
1995: You’re Gonna Miss Me When I’m Gone — Brooks & Dunn (Arista)
2005: As Good as I Once Was — Toby Keith (DreamWorks)
2015: House Party — Sam Hunt (MCA)
2015 (Airplay): Loving You Easy — Zac Brown Band (Southern Ground/BLMG/Republic)
Since debuting eight years ago, Zac Brown Band has been a bright light on the increasingly barren landscape of mainstream country music. Ballads “Highway 20 Ride,” “Colder Weather” and “Goodbye In Your Eyes” join rompers “As She’s Walking Away” and “The Wind” as some of the strongest radio singles of the period. I’ve always loved Brown’s affable voice and his instance that fiddle prominently factor into the core of his band’s harmonic sound.
Still, the need for change has always been there. Zac Brown Band is quick to grow complacent, retreading musical ground when they should be pushing to elevate to the next level artistically. Uncaged, for example, beat their island-themed subset into the ground with the ear piercing “Jump Right In.”
Like clockwork, they’ve managed to do it again. Jekyll + Hyde is their widest album yet stylistically, covering everything from EDM and rock to jam band and, yes, more of those island rhythms. In turn, it mixes a hodge-podge of everything with a lot of retreaded ground.
The album opens with the wailing “Beautiful Drug,” which attempts to cross-pollinate by mixing EDM with acoustic country instrumentation. They venture into acid rock on the disastrous second single (it was a #1 on the Billboard Rock Chart) “Heavy Is The Head,” which features an assist from Soundgarden lead vocalist Chris Cornell. They further hone this sound on “Junkyard,” another slice of head pounding acid drivel.
Lead single “Homegrown,” while not a complete misstep, is the worst song they’ve ever sent to country radio. The suffocating production, complete with harmonies lifted from Eagles “The Long Run,” is only compounded by a lyric that’s too rudimentary to be interesting. Brown, Niko Moon, and Al Anderson ingeniously give third single “Loving You Easy” a catchy chorus to distract from the fact the song is nothing more than blandly warmed-over 1970s soft rock, a slower sonic counterpart to “Keep Me In Mind.” The jam band aesthetic continues on groovy love songs “One Day” and “Young and Wild.”
Brown employs a hoard of songwriters, a tradition in modern pop music, to help with two of the album’s tracks. “Wildfire,” which is co-written with Eric Church, follows in the same musical vein as “Homegrown” and feels primed to be a single. “I’ll Be Your Man (Song for a Daughter),” presumably written from Brown’s personal experience (he has four of them), explores a pop-leaning waltzing style complete with staccato beats.
The resurrection of their island-theme signature comes in the form of “Castaway.” A breezy ukulele and steel drum soaked jam that continues the escapism of “Knee Deep,” the song beautifully evokes the intended feeling in a way that feels somewhat fresh yet cheesy at the same time. They go a step further by fully exploring horn-laden Swing on “Mango Tree,” a duet with pop vocalist Sara Bareilles. The upbeat jazzy grove fits Brown like a glove, which surprised even me.
The remainder of the album showcases how Zac Brown Band fares when they revisit what they’ve already done musically, but with fresh eyes. Life affirming “Remedy” preaches love as the answer with ribbons of Celtic influence. Discourse continues on “Tomorrow Never Comes,” a bluegrass romp delivering the same central message as the Garth Brooks classic. “Bittersweet” tells a dark tale about lost love with a melody that recalls, but adds a bit more meat to, their penchant for tracks with a delicate acoustic softness.
The Jason Isbell composition “Dress Blues” is easily the album’s most hyped moment, a rare instance where a mainstream artist uses their platform to elevate the stature an independent singer/songwriter. The proceedings are marred by a production that favors slick over raw, but it doesn’t hinder the overall beauty of the song, which features harmonies by Jewel. It says a lot about the quality of an album when its strongest track comes courtesy of an outside songwriter.
Grade: B
1955 (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: King of the Road — Roger Miller (Smash)
1975: Always Wanting You — Merle Haggard (Capitol)
1985: I Need More Of You — The Bellamy Brothers (MCA/Curb)
1995: I Can Love You Like That — John Michael Montgomery (Atlantic)
2005: Anything But Mine — Kenny Chesney (BNA)
2015: Take Your Time — Sam Hunt (MCA)
2015 (Airplay): Homegrown — Zac Brown Band (Southern Ground/Big Machine)
1955 (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: King of the Road — Roger Miller (Smash)
1975: Always Wanting You — Merle Haggard (Capitol)
1985: Honor Bound — Earl Thomas Conley (RCA)
1995: The Heart Is A Lonely Hunter — Reba McEntire (MCA)
2005: That’s What I Love About Sunday — Craig Morgan (Broken Bow)
2015: Take Your Time — Sam Hunt (MCA)
2015 (Airplay): Homegrown — Zac Brown Band (Southern Ground/Big Machine)
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.
Entertainer 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.
Male 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.
1955 (Sales): In The Jailhouse Now — Webb Pierce (Decca)
1955 (Jukebox): In The Jailhouse Now/I’m Gonna Fall Out Of Love With You— Webb Pierce (Decca)
1955 (Disc Jockeys): In The Jailhouse Now — Webb Pierce (Decca)
1965: King of the Road — Roger Miller (Smash)
1975: I Just Can’t Get Her Out Of My Mind — Johnny Rodriguez (Mercury)
1985: Country Girls — John Schneider (MCA)
1995: Thinkin’ About You — Trisha Yearwood (MCA)
2005: That’s What I Love About Sunday — Craig Morgan (Broken Bow)
2015: Take Your Time — Sam Hunt (MCA)
2015 (Airplay): Homegrown — Zac Brown Band (Southern Ground/Big Machine)
It seems to me that I never did finish off this series, the last installment being posted on February 11, 2014 (and the installment before that appeared April 9,2013). Here are some more songs from the 1980s that I liked. This is an expanded and revised version of the February 11, 2014 article which was a rush job :
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“Shame On The Moon” – Bob Seger
Bob’s 1982 recording of a Rodney Crowell song charted on the country charts in early 1983, reaching #15 in the process. The song was a bigger hit on the pop charts, reaching #2 for four weeks.
“Finally” – T. G. Sheppard
He worked for Elvis, sang background for Travis Wammack, and eventually emerged with a solo career worth noting, racking up 42 chart singles from 1974-1991. This 1982 single was one of fourteen #1 record racked up by Sheppard, eleven of them reaching #1 during the 1980s.
“Doesn’t Anybody Get High On Love Anymore” – The Shoppe
The Shoppe was a Dallas based band that hung around for years after their 1968 formation. In the early 1980s they had eight chart records, but this was the only one to crack the top forty, reaching #33. They had a record deal with MTM Records in 1985, but that label vanished, taking the Shoppe with them.
“Crying My Heart Out Over You” – Ricky Skaggs
Ricky Skaggs was one of the dominant artists of the first half of the 1980s with his bluegrass/country hybrid. Starting with 1981’s “You May See Me Walking” and ending with 1986’s “Love’s Gonna Get You Some Day“, Skaggs ran off sixteen consecutive top ten singles with ten of them reaching number one, This 1982 classic was the first chart topper. Eventually Ricky returned to straight bluegrass, but I like the hybrid recordings better. In my original article I spotlighted “Honey (Open That Door)“, a straight forward country Mel Tillis song recorded by Webb Pierce.
“Don’t Stay If You Don’t Love Me” – Patsy Sledd
Stardom never really happened for Patsy, who was a good singer marooned early in her career on a bad label. She was part of the George Jones-Tammy Wynette show in the early 1970s. This song reached #79 in 1987.
“Nice To Be With You” – Slewfoot
This band replaced Alabama as the feature band at the Bowery Club in Myrtle Beach. This was their only chart single, a cover of Gallery’s #4 pop hit from 1972 that reached #85 in 1986.
“King Lear” – Cal Smith
The last chart hit for the former Texas Troubadour. This song reached #75 in 1986.
“A Far Cry From You” – Connie Smith
After a six year recording hiatus, the greatest female country recording artist of all time returned with this one-shot single on the Epic label. It’s a great song but received no promotional push at all from the label landing at #71 in 1985. Unfortunately, this single has never appeared on an album.
“The Shuffle Song” – Margo Smith
Exactly as described – a shuffle song that reached #13 for Margo in early 1980. Margo had a brief run of top ten hits in the middle and late 1970s but the string was about over. In my prior article I featured “He Gives Me Diamonds, You Give Me Chills” but The Shuffle song is actually my favorite 80s hit from Margo. She lives in The Villages in Florida and still performs occasionally.
“Cheatin’s A Two Way Street” – Sammi Smith
Her last top twenty song from 1981. Sammi only had three top ten hits but made many fine records. This was one of them.
“Hasn’t It Been good Together” – Hank Snow and Kelly Foxton
The last chart record for the ‘Singing Ranger’. The record only got to #78 for the 65 year old Snow in 1980 but I couldn’t let pass the opportunity to acknowledge the great career of the most successful Canadian country artist. By any legitimate means of chart tracking, his 1950 hit “I’m Moving On” is still the number one country hit of all time. Hank had perfect diction and was a great guitar player.
“Tear-Stained Letter” – Jo-El Sonnier
A late bloomer, this was the forty-two year old Jo-El’s second of two top ten records and my favorite. It reached #8 in 1988. There were brief periods in the past when Cajun music could break through for a hit or two. Eddy Raven was the most successful Cajun artist but most of his material was straight-ahead country.
“Sometimes You Just Can’t Win” – J.D. Souther and Linda Ronstadt
George Jones charted this record twice, but it’s such a good song it was worth covering. This version went to #27 in 1982. J.D had a big pop hit in 1980 with “You’re Only Lonely” which reached #7.
“Honey I Dare You” – Southern Pacific
Southern Pacific was a bunch of guys who previously played with other bands such as Creedence Clearwater Revival, the Doobie Brothers and Pablo Cruise, making some real good country music in the process. This was one of their four top ten hits of the 1980s. “A Girl Like Emmylou” from 1986 only reached #17 but the song tells you where this band’s heart was located.
“Lonely But Only For You” – Sissy Spacek
Loretta Lynn wanted to Spacek to portray her in the movie Coal Miner’s Daughter, and it turns out that Sissy can really can sing. This song reached #15 in 1983.
“Standing Tall” – Billie Jo Spears
Billie Jo Spears, from Beaumont, Texas, was incredibly popular in England and Ireland, where “Blanket On The Ground” and “What I’ve Got In Mind” were top five pop hits in the mid 1970s and she had many more lesser successes. Many of her later albums were not released in the US but she had a substantial US career with thirty-four charted records, including two #1 hits. “Standing Tall” reached #15 in 1980.
“Chain Gang” – Bobby Lee Springfield
More successful as a songwriter than as a performer, Springfield had two chart sings in 1987 with “Hank Drank” (#75) and “Chain Gang” (#66) which was NOT the Sam Cooke hit. Bobby Lee was both too country and too rockabilly for what was charting at the time. I really liked All Fired Up, the one album Epic released on him.
My Kind of Country 