Single Review: Brad Paisley — ‘Bucked Off”

Brad Paisley

“Bucked Off”

* * * 1/2

Prior to the 52nd annual CMA Awards telecast last week, it was heavily buzzed about that co-host Brad Paisley was going to sing a new song, his first from a new album, of which he’s only recorded 3-5 songs so far. One review I read even heralded the song as a return to his traditional country roots, and let’s face it, Paisley has become so irrelevant in recent years, it’s about the only move he could make that would actually make sense.

“Bucked Off” starts out innocently enough. Paisley is on a bar stool having a conversation with his woman, who is clearly ending their relationship. He likens himself to a cowboy on a bull, about to be thrown off. So you don’t mistake his situation, he sets the mood:

And George Strait’s on the jukebox in the corner

Singing about cowboys riding away

Name-checking Strait and his #5 hit from 1985 is totally appropriate in this instance. Then he goes on, laying the rodeo/cowboy imagery on thick:

You can go to Houston, Vegas or San Antone

And watch a bull rider hit the dirt

Or head down to this bar for a little cover charge

You can watch me get thrown by her

George Strait’s on the jukebox again

Says if I leave now I can still make Cheyenne

By the time Strait came around for a second time, I knew exactly what was going on. “Bucked Off” isn’t just another song in Paisley’s catalog. It’s a dedicated tribute to Strait. This jukebox reference, which in any other song would’ve gone to a different country singer, is forced and cutesy. Paisley doubles down on the bridge:

I think about those nights in Marina Del Rey

As this beautiful cowgirl slips away

But pain only lasts so long

And when you get bucked off you get back on

Going into his CMA performance, I was expecting what I thought to be true — Paisley was releasing a honky-tonk song to country radio, in pure form, not the faux honky-tonk Garth Brooks tried to pull over our eyes with “All Day Long.” Sadly, this isn’t the case.

But I will give Paisley credit where it’s due. “Bucked Off” is the most traditional country song released to radio since the leaves turned colors and began to fall from the trees. There is a full dose of steel and fiddle very audible in the mix. It has good bones, a catchy melody, and a somewhat engaging story. Paisley also deserves a tremendous amount of praise for not selling out like Keith Urban and using “Bucked Off” as a desperate attempt at relevancy.

He just takes the Strait thing too far (even the lettering and font of his name on the cover art is a nod back to when Strait portrayed Dusty Chandler in Pure Country). The right way to honor a country legend isn’t to sample that artists’ classic melodies throughout, nor is it right to drown those melodies and traditional instruments in a haze of guitars, no matter how well they’re played. He made similar mistakes on the trepid “Old Alabama.”

My issue here is that Paisley knows better. He proved that seventeen years ago when he took “Wrapped Around” to #2, as the second single from Part II. It showed how Strait influenced him, while correctly moving the genre forward into the new Millennium. It’s a pipe dream to think he would go back there, but I can always hold out hope, no matter how thin a sliver it might be at this point.

 

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.

Beyoncé 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.

Luke 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.

Carrie 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.

Keith 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 showcases 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.

Martina 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

Predictions for the 49th Annual CMA Awards

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 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

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.

Female Vocalist of the Year

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 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.

Vocal 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

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 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.

Single 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

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 Bakersfieldlast 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

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 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.

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.

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.

It’s that time of year: Predictions 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

Blake 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.

The 2012 CMA Nominations: The year that, well, just couldn’t

Such as they are, here’s the CMA nominees list for 2012 with my comments and Will Win / Should Win picks:

Entertainer of the Year

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift

The usual solid, yet unspectacular group. The lack of Carrie Underwood will have all her fans fuming as usual and everyone else will bark at the inclusion of Swift, a two time winner and the incumbent, for her increasing lack of country credibility.

Will Win: Taylor Swift – I’m betting on the safest choice this time around. She’s the most likely to pull off a win, her third. Chesney may’ve had the biggest tour, and Aldean is on fire right now, but Swift has the lock on this category.

Should Win: Luke Bryan, but he wasn’t nominated. As an all around entertainer, he’s so much better than Aldean, the only one who stands to keep the award out of Swift’s hands.

Female Vocalist of the Year

Kelly Clarkson
Miranda Lambert
Martina McBride
Taylor Swift
Carrie Underwood

Kelly Clarkson, really? I adore her but she hasn’t fully embraced a career in country music…yet. But she did score a #21 hit with the country version of “Mr. Know It All” so her nomination is somewhat, albeit very marginally justified. McBride is a snoozer scoring her 14 consecutive nomination and 15th overall as her career takes a downward spiral.

See, this is what happens when all the great female artists of late (Kimberly Perry, Jennifer Nettles, Shawna Thompson) are members of duos and groups.

Will Win: Lambert – she’s at the top of the heap and the countriest of the big 3

Should Win: While I’d love to see this award go to Clarkson, she’s a pop singer who’s done a bang up job covering country songs in concert. That’s it. I’ll say Lambert because of her intuition with Pistol Annies

Male Vocalist of the Year

Jason Aldean
Luke Bryan
Eric Church
Blake Shelton
Keith Urban

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

Will Win: Shelton – there’s seemingly no stopping him right now despite one mediocre single after another.

Should Win: Bryan. While I love Church, Bryan is the most exciting male vocalist to come along in years and a personal favorite of mine.

Vocal Group of the Year

The Band Perry
Eli Young Band
Lady Antebellum
Little Big Town
Zac Brown Band

On chart hits alone, all five deserve to be here this time around. It’s nice to see the exclusion of Rascal Flatts as their already bland material has only gotten worse in recent years.

Will Win: Lady Antebellum – is there any reason to bet against them?

Should Win: Little Big Town – Their latest single “Pontoon” isn’t just their biggest single, but its country music’s song of the summer. Zac Brown Band has also yet to score a deserving win, but LBT has been waiting for their time in the spotlight for far too long.

Vocal Duo of the Year

Big & Rich
Love and Theft
Sugarland
The Civil Wars
Thompson Square

Another interesting list. Sugarland shot themselves in the foot with Incredible Machine and thus are the least likely to repeat in this category. Love and Theft just scored their first #1, and Thompson Square have the ACM momentum.

Will Win: Thompson Square – they’ve yet to repeat the monster success of “Are You Gonna Kiss Me or Not” in their last two tries, but they’re far from one hit wonders. Shawna may not be the most flashy female vocalist, but she’s the most akin to the genre’s traditions.

Should Win: The Civil Wars – there isn’t a more ear catching duo in country music right now

New Artist of the Year

Lee Brice
Brantley Gilbert
Hunter Hayes
Love and Theft
Thompson Square

If we ever needed proof country music is in a rut, this is it. No one on this list has proven truly outstanding in anything they’ve done to date, and none have displayed the integrity to correctly push the genre forward.

Will Win: Brice, Gilbert, and Hayes are so even I can’t predict between the three. That may give Thompson Square the edge.

Should Win: Thompson Square – of this group, they’re the best of the bunch

Album of the Year

Luke Bryan, Tailgates and Tanlines
Eric Church, Chief
Miranda Lambert, Four the Record
Dierks Bentley, Home
Lady Antebellum, Own the Night

The significance of this category is huge. For the first time since his MCA debut When I Call Your Name, Vince Gill isn’t nominated. Guitar Slinger was one of the best country records of 2011 and deserved to be on this list. Also missing are George Strait’s Here For A Good Time, despite the fact his last two albums won, and Pistol Annies for their excellent Hell on Heels.

But rest assured, we get Own The Night. The category wouldn’t be complete without it now would it?

Will Win: Own The Night – if its good enough to get a Best Country Album Grammy, than it can’t loose here, right?!

Should Win: Chief – The Church album is the best of this list and the most original commercial country album of 2011. Four The Record was good, but nowhere near the caliber of Chief.

Song of the Year (Award goes to songwriters)

“Even if It Breaks Your Heart” – written by Will Hoge and Eric Paslay
“God Gave Me You” – written by Dave Barnes
“Home” – written by Dierks Bentley and Jon Randall Stewart
“Over You” – written by Miranda Lambert and Blake Shelton
“Springsteen” – written by Eric Church, Jeff Hyde and Ryan Tyndell

Another boring list. The exclusion of “So You Don’t Have To Love Me Anymore” is a travesty, and George Strait should’ve been honored for his songwriting contributions to Here For A Good Time. But the inclusion of “Springsteen” is all that matters to me.

Will Win: “Over You” – I can already see Lambert and Shelton accepting this together and I’m very happy about it

Should Win: “Springsteen” – its the best song of this bunch hands down

Single of the Year (Award goes to artist and producer)

Jason Aldean, “Dirt Road Anthem”
Blake Shelton, “God Gave Me You”
Dierks Bentley, “Home”
Little Big Town, “Pontoon”
Eric Church, “Springsteen”

Aren’t the nominations for Aldean’s awful rap over? Shelton, meanwhile, has been nominated for one of his grossest productions ever. Bentley’s patriotic anthem is wonderful, and Church’s ode is his best single yet.

Will Win: I’m leading towards, “Home” but could also see “Springsteen” sneak in a win. But as far as singles of the year go, “Pontoon” is about as big as it gets

Should Win: “Pontoon” – sure its frivolous, but unlike the Aldean hit its harmless fun, and LBT deserve anything the CMA decide to throw their way

Musical Event of the Year

“Dixie Highway,” Alan Jackson and Zac Brown Band
“Feel Like a Rock Star,” Kenny Chesney and Tim McGraw
“Roll Me Up and Smoke Me When I Die,” Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson
“Safe and Sound,” Taylor Swift featuring the Civil Wars
“Stuck on You,” Lionel Richie and Darius Rucker

The most thought out and interesting list, by a wide margin. The Jackson duet is his most exciting song from Thirty Miles West, the Swift duet is the most compelling single of her career, and the Nelson song is an hilarious classic in the making. The reworking of Richie’s classic suits him and Rucker well while the only clunker is the awful excuse for Chesney and McGraw to sing together on stage this past summer.

Will Win: “Feel Like A Rockstar” – the CMA can’t resist when two genre superstars team up

Should Win: “Safe and Sound” – putting Swift aside, its the most compelling track and another reason why The Civil Wars are currently the genre’s best duo.

Music Video of the Year

Eric Church, “Springsteen”
Kenny Chesney, “Come Over”
Miranda Lambert, “Over You”
Little Big Town, “Pontoon”
Toby Keith, “Red Solo Cup”

Of these, Church has the best video, followed by LBT. What’s so remarkable about the whole “Pontoon” thing is LBT haven’t caved into any pressure to act like 20 year olds. They’re being completely themselves all the while making millions.

Of the others, The Keith video is stupid fun, Chesney is all sex and no substance, and Lambert is as boring and depressing as the song.

Will Win: “Red Solo Cup” – as stupid as the song, but captures it perfectly

Should Win: “Pontoon” – lets have fun with this one, and this video is pure fun in the sun. But if Church only ones award, it’ll likely  be this one

Musician of the Year
Sam Bush
Paul Franklin
Dann Huff
Brent Mason
Mac McAnally

The award I know the least about, but all talented musicians. Can’t go wrong with any of them.

Will Win: Mac McAnally – too strong to bet against

Should Win: Sam Bush – for some variety

 

The brilliance of “Celebrity”

I was listening to the radio the other day when Brad Paisley’s 2003 #3 hit “Celebrity” came on. Listening to the lyrics discussing month long marriages, crying on Barbara Walter’s couch, and unlimited stents in rehab got me thinking.

In the 9 years since this song charted, not only hasn’t it aged, but it’s become even more culturally prominant than it was back then. And that has little to do with the mere fact The Bachelor just began cycle 16.

It boils down to the fact we’re even more celebrity obsessed than we were in 2003 and reality television has grown even more outragrous than Paisley could’ve ever imagined. He actually created a document ahead of it’s time written for a Kardashian obsessed world that didn’t yet exist. His forward thinking served him exceptionally well and this tome celebrating our desire to “hitch up the wagons and head out west, to a land of fun in the sun” has far surpassed the novelty Paisley was after and become a scarily honest look at our culture.

So, for everyone who shutters when “Camouflage” comes on the radio and changes the station at the opening licks of “Old Alabama,” let’s take a moment and celebrate when all was good with Paisley’s artistic credibility:

Top 45 favorite country singles of 2011

Here’s my picks for the best of the best, the cream of the crop for country singles in 2011. See, the year wasn’t all bad, now was it?

45. Steel Magnolia – “Last Night Again”

A flirty romance tale finding a couple eyeing each other from across the room is made even sweeter  knowing Megan Lindsay and Joshua Scott Jones are an item in real life.

44. Terri Clark – “Northern Girl”

How refreshing is it to hear a singer singing about where they’re from and instead of a bunch of cliches, it relays to personal experience? Clark, from Canada, sings lovingly of her homeland here and shows just how great her voice still is after more than fifteen years in the industry. If you haven’t paid Clark much attention in a while, she’s worth checking out.

43. Miranda Lambert – “Baggage Claim”

A Beyonce inspired ditty that says everything Reba McEntire wished she could’ve said in “Who’s Ever In New England.” This guy ain’t got a place to come back to.

42. Jacob Lyda – “I’m Doing Alright”

This light and breezy tale is an exercise in being comfortable in your everyday life, something we could use more of in our world. Lyda co-wrote it with legendary songwriter Paul Overstreet (whose son Chord is Sam Evans on Glee) and it has that old-time feel of a great country song. Lyda didn’t make waves in 2011, but he sure deserved to.

Top 40 Worst Country Singles of 2011

Here you go. My least favorite country singles of 2011. You’ll see some huge hits here. But remember it isn’t about chart performance, but rather about quality:

40. Ronnie Dunn – “Bleed Red”

On his solo debut Dunn could’ve worn any hat. But he choose to go down the route of being over-produced and turned into a pop balladeer. And “We all bleed red” is such a statement of the obvious, it hardly bares drugging up in a song.

39. Jason Michael Carroll – “Numbers”

This is exactly why people hate country music. A laundry list of numerical symbols? Seriously, just how lazy can songwriting get?

38. Keith Urban – “You Gonna Fly”

On its own this isn’t a bad song. But I’m including it here for the simple fact it showcases an artist continuing to coast on their merits with yet another sound alike rocker that has become the norm. Urban will always be hailed for his guitar playing and entertaining abilities but not for his diversity in song selection. He just isn’t exciting anymore.

37. Luke Bryan – “I Don’t Want This Night To End”

A guy and a girl are rockin’ in a truck as if no other modes of transportation exist. Of course, she’s “so damn hot” he can’t stand it. He may not want this night to end, but this song surely can.

36. Jake Owen – “Barefoot Blue Jean Night”

A marriage of 80s rock with banjos coupled with a disposable tale of having fun with not only your buddies but the requisite hot babe, too. I Don’t Wanna Grow Up may be the smartest line in a country song all year.

Album Review – Pistol Annies – ‘Hell On Heels’

Pistol Annies

Hell On Heels

* * * * *

Much has been made lately about the lack of solo female artists charting top 30 singles. An alarm was sounded bringing attention to just how few genuine female superstars are working in the genre today. But instead of focusing on the lack of female artists charting big singles, we should be talking about and putting the spotlight on those female artists (solo or not) who are making music that matters whether they receive airplay or are left in the dust.

One of those artists commanding attention is Miranda Lambert’s new trio The Pistol Annies. Their debut album Hell on Heels is without a doubt one of the best country albums of 2011 because the attention to detail in the lyrical content rivals anything being released on a major label in Nashville today. Throughout the ten-song project, intricate phrases abound elevating simple stories into pieces of art. Hell On Heels is a listening experience like none other you’ll have all year.

They debuted with the title track earlier this year, an introduction as good as any. I have a little trouble with its three artist structure, but the verse sung solo by Ashley Monroe always brings fourth a smile. She’s just delightful and one of the best-kept secrets in Nashville today. But the rest of the album is as good but much better than that song.

Not since Mary Chapin Carpenter released “House of Cards” as the third single from Stones in the Road in 1995, has anyone spoken so honestly and introspectively about life behind closed doors. They’ve stood up and given voice to the women who can’t take it anymore from the men who haven’t got a clue.

No song exemplifies this better than “Housewives Prayer,” which employs a simple yet dark lyric to convey the pain of quiet desperation. One of the best songs of the year, it’s a cautionary tale from a woman fed up with the status of her life – she’s been thinking about going off the deep end because she’s “burning up with all the words she ain’t been saying,” and at her boiling point, she washes pills down with beer and contemplates setting her house on fire.

Inspired by “Holler Annie” Angaleena Presley’s divorce, “Prayer” proves the point that you don’t need much to pack a wallop. Presley’s lead vocal acts as a portal for the audience to feel her pain and the moody musical accompaniment, complete with haunting steel guitar front and center, adds another dimension to her sadness.

“Lemon Drop,” another down on your life song, uses a clever metaphor to sell its central message – you have to endure the bad to get to the good. Using examples of curtains purchased on credit and owning a TV that will take ten years to pay off, it serves as a reminder to anyone going through tough times to remember “they’ll be better days ahead.”

The light mix of acoustic guitars and gentle procession coupled with the blending of their voices, gives the song a rather sweet quality, which contrasts with the placement of a lemon in the title, but suggests the optimism the protagonist is holding onto. You come away feeling her situation isn’t a reflection on her because no matter how dire the circumstances may be, she isn’t letting them define her.

When listening to the song, I had to actually stop and think what “life is like a lemon drop” meant. When was the last time that happened? It’s so rewarding not to be able to take lyrics at face value, where you already know what the song’s about because the lyrics are so predictable. This is one of those times I actually like having to work at fully understanding my country music.

“Beige,” another track that made me think, is by and large my favorite song on the whole album. The movie-like nature of the story won me over first, but it was the presentation of that story that blew me away. The song finds a woman on her wedding day, with child, “marrying some boy” in a wrinkled shirt. She’s praying no one will notice her weight gain since a “bride shouldn’t be
4 months and 3 weeks.” She’s wearing beige because “everyone in this place knows I didn’t wait.” The situation is unfortunate and the song contains some of my favorite lines on the whole album, from her being daddy’s pride and joy to no one “having a ball at the reception hall.”

“Hippie Annie” Monroe takes the lead and displays how much she’s grown as a vocalist since Satisfied, her solo debut from 2006. But the song suffers only slightly from a lack of polish. There is a few times where Monroe could’ve enunciated more clearly. But other than that, the track dabbles with perfection. The drumbeat and steel guitar add a layer to the song conveying the sadness felt by everyone on what should’ve been a happy occasion.

But with all the heaviness of the ballads, the Annies add a few lighter moments to lesson the load. “Bad Example” is a pure country shuffle that recalls something from the 1920s, “Takin’ Pills” recalls the depression-era production T-Bone Burnett used on his Robert Plant and Alison Krauss collaboration Raising Sand, and “Family Feud” is pure Americana bliss. But being lighter doesn’t cancel out their substantive qualities. “Feud” is takes on a serious topic that often tears families apart, while “Pills” uses drugs, alcohol, and cigarettes as coping mechanisms. But for all their seriousness, they are the best examples of dark humor I’ve heard in country songs since I can remember.

Another light moment, “The Hunter’s Wife,” reminds me a lot of Rodney Crowell’s “She’s Crazy For Leavin’” in terms of production. I love the wordiness of the chorus and the fact that this man doesn’t even realize he’s chosen hunting (and fishing) over his wife. The way she complains about the meals she’s sick of eating in the second verse is so instantly relatable. It’s hard to find a woman who isn’t tired of the redundant behaviors of their husband or boyfriend. If this were a Brad Paisley song, she’d know exactly what to do – give him an ultimatum and if she doesn’t care for his answer, get the heck out. Overall, it’s one of the coolest songs on the whole album and another highlight among highlights.

“Lone Star Annie” Lambert takes the lead on both “Trailer for Rent” and “Boys From The South.” Both represent classic Lambert, on “Rent” she’s selling the trailer she shared with her now ex and it bares the marks of where she grew tired of his abusive behavior. I only wish “Rent” hadn’t gone into expletive territory. It didn’t need a swear word to emphasize anything, but it is indicative of how most people talk and adds an authenticity to the song in that respect. I also like the easygoing nature of the production track.

“Boys From The South” on the other hand, is the lone oddball out on the project. It’s so straightforward and has so much commercial potential; it would’ve been better on Lambert’s upcoming Four The Record or even Revolution. But if any song on this album has the ability to break through at radio and give Hell On Heels an extra push, it’s this one. These are the types of songs Lambert does exceptionally well and she excels on that here.

In the end, Hell on Heels is everything a country album should be: original in its angles on well-worn themes and a challenge to the listener to think and pay attention to what’s being said. This brand of country isn’t going to appeal to everyone, but there’s an audience out there starving for this kind of music. I know because I’m a vocal member of that crowd, retaliating against the usual fare coming out of mainstream Nashville. Thank goodness for artists like Pistol Annies who transcend trend and make music that will matter as much thirty years from now as it does today.