George H.W. Bush attends the 1991 CMA Awards

We remember the 41st President of the United States, who has passed away at age 94. In 1991, he and his wife Barbara attended the CMA Awards as featured guests.

Upon accepting his award for Entertainer of the Year that evening, Garth Brooks famously said:

It’s funny how a chubby kid can just be having fun, and they call it entertaining. I know this embarrasses these two guys every time I say this, but I don’t think any entertainer is anything without his heroes. I love my Georges — George Strait and George Jones — and I want to thank you guys for being so good to me. No offense, Mr. President. I didn’t think about that. Sorry.

The host that evening, Reba McEntire, closed the show by inviting Mr. and Mrs. Bush to the stage. He gave some remarks:

Single Review: Garth Brooks — ‘Stronger Than Me’

Garth Brooks

“Stronger Than Me”

* * 1/2

I have a confession to make. I’ve been falling for Garth Brooks’ marketing schemes for more than 20 years now. I’ve been smarter about avoiding his wicked games in recent years, but I have my share of his box sets and first addition albums with alternate covers in my expansive music collection. I also own the Chris Gaines album, mostly out of curiosity, which says way too much about my musical gullibility.

Brooks’ most recent marketing ploy occurred two weeks ago when he strong-armed the Country Music Association into letting him play what was then an unnamed new song he had recently recorded in tribute to Trisha Yearwood, live on the show. Neither Yearwood nor the audience had heard the song prior to the telecast.

As the story goes, Brooks approached the CMA with his idea for the performance. The producers turned him down, saying a ballad just wasn’t going to work for them the year. Unaccustomed to being told no, he did whatever he had to do to secure the slot.

I just wanted to hear the song and was honestly upset with the CMA for turning him away. I hate, more than anything, when producers and image consultants control what we see on screen. It’s become far more transparent in recent years on various awards shows.

I don’t believe the CMA corroborated his story, so who knows if it’s accurate, or just another ploy in his plan to drum up pre-buzz for this new song. It doesn’t matter at the end of the day if the song itself is worth the hassle to be given such visible exposure. When all is said and done, a quality song is always worth celebrating.

“Stronger Than Me,” which was composed by Matt Rossi and Bobby Terry specifically for Brooks, depicts a man who is awestruck that his woman is always there for him when he needs her:

She always says that I’m the rock that she leans on

But it’s so hard to believe

Cause she is always there when I start losing faith, going crazy

She saves me

And every now and then she just wants me to hold her

But that don’t mean she’s weak

The way she’s unafraid to let her feelings show just means she’s stronger than me

 

She lifts the weight of this whole world off of my shoulders

With nothing but the touch of her hand

And every day and I wake up and she tells me that she loves me

I feel more like a man

I know I always thought I had to have the answer

Be her strength and take the lead

But when it comes to everything that really matters

She’s stronger than me

I really like how Rossi and Terry build up the woman in the relationship to be more than the spouse or girlfriend. The man actually recognizes her worth and admits his own flaws, all characteristics I can stand behind.

I just can’t forgive the execution. This idea that the guy is “saved” or “feels more like a man” simply because of his woman irks me. Those feelings and revelations have to come from within, not as a by-product of a romantic relationship. What happens if the relationship ends? What happens if she’s not there anymore to build him up? He’s defining his well-being based on the relationship instead of standing on his own two feet. He needs to know he can be okay without her, too, a lesson he clearly never learns:

I’d give her anything in life that’s mine to give her

Till the last breath that I breathe

And if I have a choice I pray God takes me first

Because she’s stronger than me

Sonically, the piano-centric arrangement is tasteful, but I don’t hear any ounce of passion in the finished record at all. The mixing is muffled and sounds like they recorded the song into a mobile phone or similar device. Brooks doesn’t display his usual emotion or sincerity vocally, two characteristics that drew me to his music in the first place.

“Stronger Than Me” is very similar to the formula he perfected on Fresh Horses, but comes off like a half-hearted attempt at regaining the glory of that album. “She’s Every Woman” this is not, and that’s a damn shame.

To listen to “Stronger Than Me” click here

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.

 

John Anderson is far more than an old chunk of coal at Boston’s City Winery

John Anderson may have opened his show Monday night at Boston’s City Winery with his 1981 #4 “I’m Just an Old Chunk Of Coal,” but judging from his brisk 90-minute set, the choice wasn’t self-referential. Armed with an acoustic guitar and his longtime accompanist Glenn Rieuf, he ran through hit-after-hit with merely a break to catch his breath.

Anderson traversed his whole career, jumping around so as not to put emphasis on any particular song or time period. He wasted no time getting to fan favorites like “Money In The Bank” and “Straight Tequila Night,” two of his signature tunes from his big comeback in the early 1990s. He dedicated the latter to the ladies in the crowd, which was at about half-capacity for the 300-seat venue, a respectable turnout considering the scorching heatwave and proximity to July 4th.

He didn’t talk much during the show, opting instead to give his fans their money’s worth of music. He introduced Rieuf as someone he’s known for more than 40 years and played with for more than 30. The two were perfectly in sync, with Anderson often turning to Rieuf between songs to figure out what would be sung next. Rieuf switched from acoustic guitar to dobro early on, giving the bulk of the songs some added texture Anderson couldn’t achieve with just his guitar alone.

When he did speak, Anderson made it count. He told a story about a day on his farm when he was trying to write a song. The ideas weren’t coming, and he was about to give up when his phone rang. Waylon Jennings was on the other end, requesting Anderson join him at the Ryman Auditorium to lend his talents to a live album he was making. The sessions, which took place in January 2000, would cumulate as the final album Jennings would release during his lifetime. Anderson then played “Waymore’s Blues,”  the track they collaborated on together.

Like the majority of male country singers from his era, Anderson wears his patriotism on his sleeve. He turned in a poignant rendition of “1959,” the fifth single from his debut album, his first top ten, released in 1980. The song, about a solider’s heartbreak at learning his high school sweetheart, Betty, had broken her promise never to leave him while he was deployed, is as powerful today as it must’ve been 38 years ago. He followed with “An Occasional Eagle,” an ode to American Pride and a deep cut from 1983’s All The People Are Talkin’.

He stayed in the 1980s to bring the audience some real country music, “I Just Came Home to Count The Memories,” the title cut from his third album, released back in 1981. He also mined “Would You Catch A Falling Star” from the same album. Although it’s not my favorite of his songs, “Swingin’” has retained all the swagger he originally brought to his chart-topping recording in 1983.

To this day, I still become affected when I hear “I Wish I Could’ve Been There,” which he delivered beautifully Monday night. He said it was written about his life on the road, while the next song was composed about life “back home” in Apopka, Florida. “Seminole Wind,” which I’ve always adored, is probably the most unlikely song ever to hit the country airwaves and explode into a #2 hit. Released in August 1992, when Garth Brooks was decimating everything in his path, a lyric about conservation efforts in the Everglades was just a crazy enough concept to work.

“When I Get Down” was Anderson’s sole nod to his 2011 gospel album Praise For You and was accompanied by him recounting the hearing loss that kept him off the road, missing “seven months of work” in 2017. He’s thankfully recovered, which for a time, was in jeopardy. He and Rieuff left the stage for a brief moment, and when they returned, Anderson referenced his friend Merle Haggard, who he called one of the greatest country singers who ever lived. Anderson brilliantly sang the standard “Long Black Veil,” which he associates with the beginnings of his friendship with Haggard. He closed with his outlaw classic “Black Sheep,” which became his third #1 in late 1983.

Throughout his set, Anderson was ever the southern gentleman, pausing multiple times with “thank y’all so much” as the audience cheered between songs. He also felt his sound mixing was off, stopping at the top of the show a few times to tune his guitar and ask the sound people to adjust his guitar in the monitors. The sound was fine by my ears, but when he got it just right, we could enjoy the show without further tweaking.

The acoustic format, which Anderson said will be the sonic backdrop of his next album, worked well although I could’ve used a bit more instrumentation, especially on “Straight Tequila Night,” which seemed to be needing some extra ingredients, likely just a fiddle, to bring it even further to life.

At 63, Anderson still sounds fantastic, with his signature gravely rasp firmly intact. It was an unexpected treat to see someone perform whom I never even gave a second thought to seeing live. He made a point of saying he doesn’t come around “these parts that often,” meaning Boston, and he would like to come back again real soon. I for one, wouldn’t mind in the least if he did.

Album Review: Tracy Lawrence – ‘Good Old Days’

Tracy Lawrence

Good Ole Days

* * *

If popular culture is to be believed, it seems the 1990s is the hottest decade right now. Most of the ‘new’ television shows are reboots of classics from the era, including Full House and Will & Grace, with the originals casts reprising their roles. In popular music, if you were a major player 20-25 years ago, then its suddenly fashionable to return with new music and slews of concert dates.

In country music, this trend extends to the return of Faith Hill and Shania Twain with their first new music in more than a decade while Garth Brooks is wrapping up his massive three-year tour this month in Nashville. Even Dixie Chicks came home to the United States with their first tour in ten years. What’s old is new again or rather the music that defined my childhood is suddenly hip again.

It would be a stretch to place Tracy Lawrence at the same level since he was never a global superstar or wheeled much influence on an international stage. But he was one of the most consistent and traditional artists in his day, with a catalog that more than stands up to anything released by the artists who may have eclipsed him in status.

To celebrate this resurgence, Lawrence has released Good Ole Days, which recognizes what he refers to as a ‘hunger for the music from my era.’ The album pairs him with modern day country artists singing his hits. The whole concept does seem like a gimmick, a cash grab for the gullible fan unaware they are likely only lining the pockets of the executive who dreamt up this project. But really it’s a chance to finally hear country’s current class sing real well-written songs for the first time in their careers. I jumped at the chance to review this album simply so I could hear how these artists sound when forced to interrupt the actual country music. I’ve always had a theory that there is talent there if these artists had the proper vehicle to show it off.

This is the proper vehicle because instead of the artists making these songs their own, with their typical non-country producers and such, they have to stick within the confines of the original arrangements, including the steel, fiddle, and twang. Without the ability to hide, every weakness would be on the table.

Luke Bryan tackles Lawrence’s 1991 debut “Sticks and Stones” and handles it well. I wasn’t impressed with Jason Aldean’s take on “Just Can’t Break It to My Heart,” his voice was a bit too dirty, but the energy was good.

I remember reading in Quotable Country, on the dearly-departed Country California, Justin Moore says if he had a say he would make an album in the vein of I See It Now. He goes back a bit further here with “Alibis” and knocks it out of the park. Moore is a great country singer and it’s a shame he has to reside in this current climate.

Dustin Lynch sounds exactly like a young Lawrence on “Texas Tornado,” which is kind of scary. His performance isn’t excellent, but it’s damn close. I was surprised Miranda Lambert, who has been known to belt this out in concert, wasn’t singing it but that could’ve been label politics.

Probably the newest artist featured here is Luke Combs, who just hit number one with “When It Rains It Pours.” There’s no mistaking he’s a country singer and he easily pulls this off. The same is true for Chris Young, but he sounds like he’s just going through the paces on “If The Good Die Young.” If he had just let go the results could’ve been incredible.

The legend of Tim McGraw is he moved to Nashville on May 9, 1989, and has always said he’s more of a storyteller while Keith Whitley is a singer. I agree wholeheartedly, but his performance of “Time Marches On” is bland. In contrast, Easton Corbin shines on “Paint Me A Birmingham.”

Kellie Pickler’s talent is wasted on “Stars Over Texas,” which finds her regulated to singing the chorus. As the sole female voice on the whole album, you would’ve thought she’d be allowed more of a presence. I didn’t care for her vocal either, which makes her sound like a little girl.

There are two new songs in the mix. Brad Arnold, the lead singer of Alternative Rock band Three Doors Down (think ‘Here Without You’) joins Lawrence on the title track, which is being billed as his “country music debut.” The song, which also features Big & Rich, is a faux-rock disaster. The military-themed fiddle drenched ballad “Finally Home,” which features Craig Morgan, is better but not really for my tastes.

Good Ole Days is a great concept with lousy execution. These tracks are collaborations between the singer and Tracy Lawrence which doesn’t work on any level. Get rid of Lawrence entirely and turn this into the proper tribute album it’s screaming to be. His nasally twang is insufferable and pointlessly distracting. The lack of female artists in the mix is also troubling, as you don’t need just men to sing these songs.

Album Review: Loretta Lynn – ‘White Christmas Blue’

Loretta Lynn

White Christmas Blue

* * * 1/2

The crop of Christmas albums has been hit or miss this year with big band affairs aptly showcasing Chris Young and Brett Eldridge’s vocal prowess and Kacey Musgraves’ continued decent into her own quirkiness. Garth Brooks and Trisha Yearwood had the most disappointing record, a haphazard affair unbecoming from an artist (Yearwood) with impeccable song sense who knows better.

Loretta Lynn has released the years most intriguing holiday record, White Christmas Blue, which comes a full fifty years since her Owen Bradley produced Country Christmas. The album is a full-on traditional affair and a delight at every turn.

I usually find fiddle and steel out of place on a Christmas album, but White Christmas Blue is changing that perception for me. The album is mostly comprised of holiday standards, with jovial renditions of “Frosty The Snowman” and “Jingle Bells” sitting comfortably along side “To Heck With Ole Santa Claus,” one of the album’s strongest cuts and a personal favorite of mine. “Blue Christmas,” a full-on honky-tonker in Lynn’s hands, is also excellent.

The ballads don’t hit as hard. It may be the starkness she brings to “Away In A Manger,” “Silent Night” and “Oh, Come All Ye Faithful” that didn’t do it for me or the fact I’ve heard them so often, in so may different versions, their simple beauty has begun to wear thin. “’Twas The Night Before Christmas” was a complete surprise, a perfect way to end the album.

White Christmas Blue also boasts two original numbers. “Country Christmas” is a rerecording of the title track from the last album and Lynn hasn’t lost any of the spunk she brought to the original. The other, the title track, is a rather somber affair, which finds Lynn with everything she wants – except her honey:

It’s Christmas Eve and I’m still all alone

It’ll be Christmas day when you come home

Icicles hanging from the eves, snow is glistenin’ from the trees

My Christmas time with you is over due

 

You turn into my white Christmas blue

You turn into my white Christmas blue

I should be saying ho ho ho instead of bu bu bu

Oh Santa Claus would no want you to break my heart in two

You turn into my white Christmas blue

I cannot recommend this album enough.

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.

Album Review: Zac Brown Band – ‘Jekyll + Hyde’

Zac Brown Band

Jekyll + Hyde

* * *

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.

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.

Album Review: Garth Brooks – ‘Man Against Machine’

Garth Brooks

Man Against Machine

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Excluding boxed sets and compilations, Man Against Machine marks Garth Brooks’ first set of entirely new music in fourteen years. His highly publicized return, as his youngest child heads off to college as promised, comes at a time when the country music genre has strayed further from its roots than any other period in its history. Would Brooks pick up where he left off, with an album reminiscent of his classic work? Or would he instead follow the latest trends and make an eighties rock styled album, country in name only?

His first response to everyone’s probing questions comes in the form of “People Loving People,” a Busbee, Lee Thomas Miller, and Chris Wallin #19 peaking mid-tempo rocker that tries to drive an all-inclusive message, but does a poor job of getting it across. He returns to form on second single “Mom,” a classically styled Brooks tune about an unborn baby’s conversation with God before being born. Don Sampson and Wynn Varble have crafted a fantastic lyric that Mark Miller produced immaculately.

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.

Album Review – Garth Brooks – ‘Blame It All On My Roots: Five Decades of Influence’

Garth Brooks

Blame It All On My Roots: Five Decades of Influence 

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When the message came down a few months ago that “the sevens have aligned” on Garth Brooks’ website, I was over the moon excited for his return to country music, in any form. He’s the precursor to the country-rock of today and the main reason country artists in his wake have been so lucrative on the road. But he’s also the only one who got it right. At his core, Brooks is a song man. If you stripped away his mesmerizing stage show, put aside his never-before-seen album sales, and listened to the music, you’ll find a legacy of incredible songs. I cannot say that about any genre superstar (Kenny Chesney, mostly) who’s risen to similar levels since he retired.

But even more then his ear for great songs, I was far more interested in seeing how the new generation (those born after 1997/1998) would respond to Brooks’ return. Without the ability to digitally download or stream his music and no memory of a live Brooks’ special on TV (let alone seeing him in person with his full band), would they care? Time will be the ultimate judge, but the ‘Garth Brooks magic’ remains as strong as ever. His Black Friday concert special was watched by an estimated 10 million people and the accompanying boxed set has just surpassed One Direction as the #1 album in the country, all-genre.

Blame It All On My Roots – Five Decades of Influence is more then just an 8-disc set; it’s a celebration of Brooks’ residency in Las Vegas. For the past four years, he’s been performing weekends in the Encore Theatre at Steve Wynn’s Hotel & Casino. But instead of bringing his legendary live act, Brooks performs a one-man show where he tells his life story though the music that built him – just his voice, a guitar, and a hooded sweatshirt. The boxed set extends that idea to four CDs, 11 songs each, with Brooks covering a handful of these songs in full broken down asCountry Classics, Classic Rock, Blue-Eyed Soul, and Melting Pot.

The most obvious disc is Country Classics, where Brooks covers everyone from Conway & Loretta to George Jones, Merle Haggard, and Keith Whitley. He’s trying to fill some big shoes here and the results are far more underwhelming then they should be. Opener “Great Balls of Fire” and closer “Jambalaya” comes off as cheesy karaoke while he isn’t quite convincing as a hillbilly on “White Lightnin’.” I really wanted to love “After The Fire Is Gone,” his sole duet with Trisha Yearwood, but the pair didn’t bring any ache to their vocals, merely turning in gorgeous performances that fail to convey the sense they’re a couple on the outs. He’s better on the more traditional numbers like “The Bottle Let Me Down” and “Act Naturally,” and I really enjoyed his take on “Unwound.” But my favorite track by a mile is “Good ‘Ol Boys Like Me.” I’ve always thought Brooks’ does a wonderful job on more tender songs (like “She’s Every Woman”) and this selection from Don Williams’ catalog fits him like a glove.

Classic Rock is a bit better, with Brooks turning in three of the set’s best tracks. It’s not surprising he does a fantastic job on “Against The Wind,” seeing that Bob Seger is one of his major influences and the inspiration behind “That Summer.” Brooks’ is equally wonderful on Elton John’s “Don’t Let The Sun Go Down On Me,” on which he gives one of the most passionate vocals of any song on any disc. Listening to it, I felt like I was back in the Fresh Horses era. But the highlight is one I wasn’t familiar with going in, Billy Joel’s stunning rock opera “Goodnight Saigon.” The song is an ode to the Vietnam War that Brooks tares into with vengeance. The rest of the disc is mostly bad karaoke, with songs like  “Addicted To Love,” “Sweet Home Alabama,” and “Somebody To Love” that fail to translate when anyone but the original artist is singing them. But I do have to give Brooks credit for doing the Eagles justice and turning in an above average “Life In The Fast Lane.”

Blue-Eyed Soul is by far my least favorite disc, mostly because soul music just isn’t my taste. But he does cover songs I actually like. “Midnight Train to Georgia” is my favorite, as Brooks puts his own stamp on the song. Other favorites are “Lean On Me” and “Drift Away,” but they become disjointed in Brooks’ hands, loosing the flow of the original versions. He’s in top form on “Ain’t No Sunshine,” but even Brooks cannot get me to enjoy “Stand By Me,” no matter how great his vocal may be. The rest of the record is just ok, with “Shout” being the only real clunker.

Melting Pot is where Brooks covers a bunch of tracks that didn’t fit categorically on the other discs. It’s hands down the best of four, and the one I enjoy most, because of the song selection. He does a wonderful job on rock standards “Mrs. Robinson” and “Maggie May” while turning in another of the box sets’ best performances with “Amie,” one of Pure Prairie League’s best known hits. “Operator (That’s Not The Way It Feels)” and “Wild World” are just as good, as is “Don’t Let Me Be Lonely Tonight” although I would’ve chosen a different James Taylor song, like “Sweet Baby James” instead. I just happen to like some of Taylor’s other songs better.

In addition to the four discs of covers, Blame It All On My Roots also has The Ultimate Hits two disc set and DVD and a DVD of his Las Vegas show. Repackaging his 2007 collection is pointless, but Brooks’ has made a career out of repackaging his albums, so this is hardly a surprise. The four albums of covers are the real draw and while they’re good, they fail to be anything exceptional because Brooks stays too faithful to the originals (especially on “Don’t Close Your Eyes”). I would’ve liked to see him put his own stamp on the tracks, opposed to just covering them faithfully. That being said, Blame It All On My Roots is still worth checking out, especially for those like me who’ve been Garth fans since they can remember.

Country Music’s Next Great Renaissance: The unthinkable success of Florida Georgia Line’s ‘Cruise’

2013 in country music:

• Vince Gill and Paul Franklin release the sublime Bakersfield

• Alan Jackson treats his fans to his long-awaited bluegrass record

• Florida Georgia Line’s single “Cruise” surpasses Hank Snow’s “I’m Moving On” to become the longest #1 in the history of Billboard’s Hot Country Songs Chart, breaking a 63 year record

Wait, what? You read that right, folks. 2013 will forever be known as the year mainstream country music officially went to the dogs. I don’t even know how to begin expressing my anger, hiding my palpable sadness, or getting over a turn of events that marks the most significant failure in the history of country music.

So, why is this so bad? A popular song, that the public is responding to with open arms (5 million + downloads), has reaped the ultimate reward for its mammoth success – tenure at the top so rock solid, not even Taylor Swift can dislodge it. But isn’t that what it’s all about, being rewarded for your success? I mean, aren’t records meant to be broken at some point anyways?

Yes, all that is true. But it isn’t about breaking the record; it’s how the record was broken. In this case it came last October when Billboard significantly changed the way song ranks were calculated on the Hot Country Songs Chart. Instead of only factoring in radio airplay from country stations, data from streaming services downloads of songs, and airplay for country singles on pop stations were now in the running to determine where a song would place on the chart. A separate Country Airplay chart was created to stand in addition to the old chart with new rules.

Factoring in streaming data and song downloads is fine. It is 2013 after all. Music doesn’t come solely from the radio anymore. But they went a step further – when a country single crosses over to ‘the pop world’ and charts, that data is factored in, too. And thanks to a pop/rap remix featuring rapper Nelly, you now have the phenomenon that’s going on with “Cruise.” In other words, a song can log multiple weeks at #1 on the Hot Country Song chart without any significant airplay within the format.

So, Hank Snow was dislodged from the top by a song featuring a guest rapper that took full advantage of a chart that recently changed its rules. That’s my first issue with this “accomplishment.” On Engine 145 the other day, I commented that this record (which wasn’t broken at the time) meant nothing simply because of the chart tweak. If it had happened this time last year, obviously under the old rules, then I would have no problem at all. At least then it would’ve been fair game.

Garth Brooks accomplished something similar six years ago when his “More Than A Memory” single became the first country song ever to debut on the Billboard Hot Country Songs chart at #1. Did I cry fowl? No, I didn’t. At the time, it didn’t feel like country music was selling out, even if, (allegedly) Clear Channel had a hand in getting the song played each hour for a week. It was just Brooks breaking yet another record on a chart that was equal opportunity for everyone.

This new Billboard Hot Country Songs Chart is so easy to manipulate it’s scary. Scott Borchetta, the mastermind at Big Machine Label Group, is currently the only one greedy enough to see this, the only label exec who’s conscience is suppressed deep enough to change the course of country music and not give a crap about how he is impacting the greater good of the genre. If we’ve learned anything from Hollywood celebrities and politicians, its money is the route of all evil, and people will stop at nothing to pocket big.

My other issue is the quality of the song. Is it really too much to ask for the song breaking the record to feature even a hint of artistic merit? J.R. Journey said it best last December:

“The only thing worse than this pair of deebags hitting a major breakthrough in their career with a piece of drivel like this will be the countless deebags-in-training that will be inspired to emulate Florida Georgia Line’s success. From the butchered grammar lyrics to the singers’ affected twang and dog tags around their necks, these guys are a legit training manual on how to be scuzzy deebag losers.”

I shudder to think about the doors being opened by the success of “Cruise.” Like “On The Other Hand” and “Any Man of Mine” before it, we’re likely in the middle of the next great renaissance in country music. But instead of eliciting excitement, I only feel dirty. “Cruise” marks the first time a cult song was met with such success and that’s most dangerous of all. Trailer Choir’s “Rockin’ The Beer Gut” was arguably just as big a fan hit, but country radio knew enough to spit it out before it got even half this big. Now there’s no telling what kinds of songs will be heard from radio speakers in the years to come.

Any historian with half a brain will look back at this and wonder – how do you go from “I’m Moving On” to “Cruise?” In those sixty-three years country music stopped evolving and outright changed. The closet pre-cursor to a track like “Cruise” is “The Devil Went Down To Georgia” but even the Charlie Daniels Band classic was loaded with equal parts sincerity and shredded fiddle. Country Universe’s Dan Milliken can believe, “love it, hate it, or tolerate it, the one thing “Cruise” undeniably had going for it was a mighty hook,” all he wants. But good or bad hooks aside; it doesn’t alter the fact that “Cruise” is the new benchmark for success in mainstream country. Lord help and save us all.

Concert Review – Miranda Lambert & Pistol Annies at the Bank of America Pavilion

Miranda Lambert does whatever she wants.

That much is evident from this second leg of her On Fire tour, which rolled into Boston Friday night (July 27) during a week that saw Lambert perform on Good Morning America and co-host The View.

I’ve been following Lambert’s career for nine years now, ever since she first stepped on the Nashville Star stage in 2003. Her “Greyhound Bound For Nowhere” original song night performance solidified my adoration and I knew, if given the chance, she could be the top female singer in country music.

It was a slow climb, but she made it, even when I had doubts country radio would ever stop giving her a cold shoulder. And judging by the enthusiastic crowd at the show, it seems I’m not the only one to ride on the Miranda train.

The show kicked off with Loretta Lynn speaking via tape, telling the crowd her stance that country music will always be okay as long as Lambert’s around, followed by a fabulous montage of strong women set to Beyonce’s “Run The World (Girls).”

Lambert then came out with guns blazing on “Fastest Girl In Town,” which set the tone for the night. Rockers of all shapes and sizes followed as she rolled through “Kerosene” and her charging cover of John Prine’s “That’s The Way The World Goes ‘Round.” She then slowed down long enough to perfectly execute “Over You,” which came sans any backstory before revving up again on “Heart Like Mine.”

A fascination for Lady Gaga drove her first interaction with the crowd, and led into a countryfied cover of Gaga’s hit “You and I.” Lambert did an incredible job with the song, as country as any hit last year, and she had enough spunk in her delivery to pull it off.

Probably the most palpable display of Lambert’s angst came with “Baggage Claim,” which she sang in tribute to the end of a long work week. The song came complete with rolling flight tickers on the video wall and roused the audience, who dug into the Beyonce-like groove of the tune.

One of the night’s more bizarre moments came when launching into her all but forgotten “Dead Flowers,” a treat for me (I love the song) but a let down for the audience as the artsy metaphors never really connected with mainstream country fans. Choosing to include it within the set further exemplifies Lambert’s rebel spirit, as most singers would never again touch a single that failed to reach the top 30. But the energy of the song works really well, even if the lyrical content doesn’t quite connect.

Lambert took her first of two breaks half way through the set as stage handlers brought three microphone stands (complete with oval shaped named tags and retro microphones) on the stage. The audience was then greeted to a short video piece on the Pistol Annies, before the trio emerged with “Hell On Heels.”

I was surprised to see the crowd go bonkers for them as their lack of airplay and indie spirit should’ve been a deterrent. The short set was followed by the fabulous “Bad Example” and a cover of Lynn’s “Fist City.” The Lynn cover was obvious, but proved a let down as Angaleena Presley’s thin vocals kept the song from translating to this overtly mainstream crowd. But they came back strong, finishing with the fan favorite, “Takin’ Pills.”

There’s a sense with the Pistol Annies that even fourteen months after their formal debut, they still have to explain themselves and defend their coupling. The gimmicky “Holler, Lone Star, and Hippie Annie” schtick is getting a little old. If they just let the music lead the way, they’d be fine.

But with that aside, they put on a great show. Given their backgrounds and passion for traditional country music, they almost beg to play club shows of their own – something I’d die to see. Presley didn’t shine as bright on the big stage with her voice, but she made up for it with an adorable country charm and square dancing bits that had Lambert declaring “now that’s country!” all the while warming her way into my heart. Ashley Monroe is fabulous in much the same way, but as an adept vocal stylist, she shines brightest for the three of them.

The Pistol Annies set was followed by a detour into straight-up rock and roll, which didn’t sound much different from Lambert’s own material. That may prove a problem for those who want Lambert to stay in her “country lane,” but the energy works well backed with her twangy vocals, and she benefits from avoiding the country hick status made famous by her male counterparts.

That energy drives her cover of Kacey Musgraves’ “Mama’s Broken Heart,” a song begging for release as a single. Lambert followed up with “Famous In A Small Town,” “White Liar,” and “Gunpowder and Lead.”

Lambert referenced her stint co-hosting The View one just one occasion, talking about being in New York City among all the models (and View guest Jessica Alba). This short diversion about diversity transitioned nicely into her song “All Kinds of Kinds.”

The emotional highlight of the evening came through “The House That Built Me,” her signature song. She backed it with personal family photos and images from her childhood that brought new meaning to the lyrics. But it also proved how adapt she is at taking a complete 360 and turning out a vulnerable ballad. Like her fabulous ACM performance from 2009, she just stood there, sang, and delivered.

Lambert closed the set with one encore song, a back-to-my-roots cover of Patsy Cline’s “Crazy.” Backed solely by an acoustic guitar, she turned in the night’s standout vocal and brought a perfect amount of class to the song. But it also felt a bit contrived. Of all the Patsy Cline songs, you cover “Crazy?” Talk about going with the only song of Cline’s the audience would know. It’s too bad as she should’ve shown imagination by going with “Faded Love” or “Leavin’ On Your Mind.”

Of course it doesn’t excuse the fact covering Cline is a crucifixion to the trailblazers of the genre, following the recent death of Kitty Wells. When the woman who made it possible for you to even stand on the Pavilion stage and call yourself a country singer dies, you pay respects with 1) a mention of her name and 2) a performance of “It Wasn’t God Who Made Honky Tonk Angels.”

But through and through, Lambert does whatever she pleases, no matter who it may piss off. She’s built her career on bucking convention and it doesn’t appear to be slowing down anytime soon. If this performance is any indication, she’ll be a female country leader for many years to come.

The same may also be true for her opening act J.T. Hodges (country’s version of Matt Nathanson), who warmed up the crowd with a gumption rarely seen from newer performers. During his set he rolled through many songs from his self-titled debut, due out Aug 21, including highlights “Leaving Me Later” and “Green Eyes Red Sunglasses.”

He threw in a cover of Garth Brooks’ “Rodeo” for good measure and got the crowd pumping on his infectious debut single “Hunt You Down,” my second favorite single of last year. And even though most of his set was loud, he kept it memorable solely with his attitude.

Hodges knew his mission to wake up the crowd and stopped at nothing to do so. Not only did he mention his admiration for  our “title town” (sports), he also ran through the audience to make sure he got everyone’s attention. He won me over as a fan, I can tell you that.

So, how musically healthy am I?

Last week the good folks at Country California issued a mid-year battle cry – “You’re overdue for your seasonal music check-up.”

The exam is as follows, in these simple steps:

1) grab your media player of choice

2) turn your head to the left

3) Shuffle 20 times

In doing so, and without any editing of embarrassing results, my returns are as follows:

1. Miranda Lambert – “Guilty In Here”
2. Don Williams – “The Flood (Wish I Was In Nashville)”
3. Connie Smith – “I’m So Afraid Of Losing You Again”
4. Patty Loveless – “You Don’t Even Know Who I Am”
5. Trisha Yearwood – “The Woman Before Me”
6. Connie Smith – “Blue Little Girl”
7. Jamey Johnson – “Lonely At The Top”
8. Tracy Lawrence – “If The Good Die Young”
9. Randy Travis – “Forever Together”
10. Rosanne Cash – “Big River”
11. Patty Loveless – “Feelings Of Love”
12. Rosanne Cash – “707”
13. Emmylou Harris – “Ooh Las Vegas”
14. Bradley Gaskin – “I’m All About It”
15. Tanya Tucker – “Down To My Last Teardrop”
16. Garth Brooks – “Shameless”
17. Nickel Creek – “Scotch and Chocolate”
18. Sugarland – “Something More”
19. Eric Church – “Like Jesus Does”
20. Collin Raye – “I Think About You”

I was amazed, actually, at what my iPod spit back. This could’ve gone in so many ways and yet the random shuffle actually showcased some of the better tunes in my collection. It’s never a bad day when the likes of Connie Smith, Emmylou Harris, Trisha Yearwood, Rosanne Cash, Patty Loveless, and Tanya Tucker show up in the same random 20 song sampling.

At least my copies of Kip Moore’s Up All Night and Tim McGraw’s Emotional Traffic were no where in sight.

Three more names cemented in bronze: the class of 2012

As winter slowly turns to spring and the chill begins to exit, a celebration is brought fourth where more than a century of tradition is whisked back into the spotlight, if only for a brief time.

The importance of this commemoration knows no bounds as the past and present collide to bestow an honor upon three worthy individuals whose contributions have been revolutionary.

This recognition, which concludes with a medallion ceremony later in the year, elevates greatness, yet sparks fierce debate among those who object to this honor coming too soon or far too late.

But one ideal will always rise victor – the highest professional honor in country music is induction into the Hall of Fame. And in 2012, that prestigious mark of upmost respect shines a light on Hargus, “Pig” Robbins, Connie Smith, and Garth Brooks.

In three unique and different ways, each inductee has left a stamp on country music not likely to be erased with time. Through his paino-playing on iconic songs such as “Don’t It Make My Brown Eyes Blue” and “White Lightning,” Robbins has redefined the essence of the studio musician.

With “Once A Day,” a little tune pinned by Bill Anderson, Smith did the impossible – becoming the first female artist to log eight consecutive weeks at #1. That feat, accomplished more than forty years ago, has yet to be topped.

And Brooks took our notion of what a concert tour could be, turned it on its head, and ran with it.

Hargus “Pig” Robbins

I must admit that before this morning, my young age prevented me from knowing Robbins and his contributions to country music. But after listening to his introduction by Kix Brooks, I found familiarity with most of the songs he played on.

Especially this day and age, with digital sales rendering the dust jacket obsolete, the ideal of the studio musican has nearly gone out the window. No longer do we care who backs up our favorite singer as long as said artist releases new music.

But the studio musician is the backbone of all music. Without session players, as they’re also called, albums would never be released. We need these professional musicians who can learn a song on a dime (often without sheet music, thanks Kix) and execute them flawlessly.

Robbins was one of those such people and arguably one of the best the genre has ever seen.

Connie Smith

Unless you are far too close to mainstream country music, the release of Long Line of Heartaches last August brought fourth much joy. It was Smith’s first album since 1997 and an excellent reminder of country’s rich past.

At 70, Smith sounds better today than most female singers in the business. I was recently scanning the television channels when I came across The Marty Stuart Show on RFD-TV. A homage to all the great variety shows from the 60s and 70s, The Marty Stuart Show is a shining example for classic country music in a world in which country rock knows no bounds.

Marty’s guest that evening was none other than Smith, his wife. For half an hour she took to the stage and sang from Heartaches. She performed more than half of the album and even brought her three daughters on stage for “Take My Hand.”

The show can be “hicky” at times, but Smith’s voice shined loud and clear. It was so nice to have an outlet from which to see her perform and I knew I was witnessing something special.

My first vivid memory of Smith came in 1997 when I watched her perform on the Grand Ole Opry from my grandparent’s living room. I don’t remember what she sang, but I remember it airing after she married Stuart. Being young and naive, I didn’t understand what I was watching and thought she looked “tough.”

The next time I remember paying attention to her was during a duet of “Once A Day” live on the Opry with Martina McBride in 2005. That performance is on YouTube and very good, although Smith steals the show (as she should have).

Like Jean Shepard last year, Smith’s induction is long overdue. Her importance to country music may be quiet in comparison to the likes of Loretta Lynn, Tammy Wynette, and Dolly Parton, but she belongs with them in a class of her own.

With a better understanding of her importance, and a deep love of Heartaches, I now can say I’m a bonafide fan.

Garth Brooks

Being a 90s kid, (oh how I loathe that term), I have the most vivid memories of Brooks. It’s funny, as a child, I first came to know him trough his famous stage show and always viewed him as larger than life; some unapproachable giant force. His image of flying over rafters and gliding on his back through rows and rows of fans only magnified it for me.

I remember, once, not “getting” him. This idea of his popularity being something overblown. I don’t know when I woke up and got a clue but it came pretty fast.

In 1997, when I was also first learning about Smith, my grandfather turned 75. So my mom had an idea – I would sing “Much Too Young (To Feel This Damn Old)” at the party. I’m not a singer or guitar player, so I did my best to pull it off. I remember having to learn the song for weeks before hand and feeling pretty cool that I could use the word “damn.” It was a special moment and I can still see myself sitting on the stool in the middle of the dance floor.

That same year, like the rest of the world, I tuned into the famous Central Park concert. Being young, I really had no idea the magnitude of what that show really symbolized for country music. I remember how happy everyone was that Garth was sticking only to old material.

Watching from my grandfather’s basement, I can see clear as day, his inability to get the VCR to work so we could tape the show. I was mad but it was just so cool to be able to watch it. Funny thing, when he brought Billy Joel on to sing “New York State of Mind” I had never heard of him (or at least really knew who he was). I always thought he should’ve been wearing a cowboy hat.

Apart from his concerts, yes I also saw his 1998 show from Ireland, and a concert of my own in 1996, I have vivid memories of Brooks’ music. More than any other artist, he was a true marketing genius.

Getting a new Garth Brooks album was always a treat because there would be multiple covers and “first editions” to choose from. I have first edition copies of Sevens, Double Live, The Magic of Christmas, and Scarecrow.

I remember listening to a radio show, in 1998, when they played every cut off of The Limited Series with commentary from Brooks. It was so cool, at that time, to think he was releasing a boxed set of his material with one new cut on each album.

I also rushed out and bought everything he had for sale during his “Wal-Mart Only” years. Sure, you could say I’m a sad sap for buying into all this, but for some reason you had to – it’s Garth Brooks. (Along those same principles – I also own In The Life of Chris Ganes).

In his day, Brooks had it all. The mammoth concert tours, hit singles, and everything in between. And with Trisha Yearwood he had the tabloid love affair we all love to speculate about (did they hook up in the 90s or not?).

But the truly remarkable aspect of Brooks’ career are the songs. It isn’t very often that an artist can back up their success with such memorable and iconic records. There isn’t a single superstar today – from Kenny Chesney, Carrie Underwood, and Taylor Swift, to Brad Paisley, Keith Urban, or Tim McGraw who can match Brooks song for song. His is music of substance, class, and grace.

For instance, on 9/11, I remember singing “The Dance” to myself on the way home from school. When I got home, the first song I turned to was “The Change.”

There isn’t anyone who can match him. I remember people would take the day off from school or work to stand in line at their local CD store on Garth Brooks release day. His albums were events.

But Brooks’ induction came so soon, ahead of the more deserving Randy Travis and Ricky Skaggs (who he singled out in his speech), because of one aspect – touring. His concerts were revolutionary for elevating the stage show to heights previously unknown in country music. Like his albums, his shows were happenings.

Before Brooks, you didn’t have fans rushing online at 10:00am to secure their seats to a show. Country artists may have seen sellouts aplenty, but never in places like the Staples Center and Madison Square Garden. He brought country music to a whole new level; one not surpassed until Chesney’s stadium shows in the 21st century. Brooks drew the blueprint that made the mammoth country shows we all go to today, possible.

All and all, If Brooks is anything, he’s his own man. He was the first to announce a retirement (via a silver covered Country Weekly cover in 2000) at the height of his fame, and remains the staunch holdout for a presence digitally. He doesn’t even have any vintage clips on YouTube.

But like any great artist, the songs will always live on. I was listening to my local country station just last week and what came on? None other than “If Tomorrow Never Comes.” Singing along to his first #1, it felt comfortable, right. Just like his entrance into the Hall of Fame.

Looking Ahead

As we look back at the legacy Robbins, Smith, and Brooks bring to the Hall, the debate over future inductees rages on. Brooks may have gotten in ahead of his time, but no one exemplifies the “90s boom” better and as the forefather of the country spectacle, he made the stadium shows of today doable.

But here’s my list of who should welcome the exit of winter’s chill in some upcoming March and allow us to have a celebration in their honor:

Modern Era Category (In order of importance):

• Randy Travis
• Alan Jackson
• Gene Watson
• Brooks & Dunn
• Hank Williams, JR
• Ricky Skaggs
• John Anderson
• Dwight Yoakam
• Clint Black
• The Judds
• Alison Krauss
• Patty Loveless
• Marty Stuart

Veteran Era Category (In order of importance):

• Kenny Rogers
• Ronnie Milsap
• David Allan Coe
• Johnny Paycheck
• June Carter Cash
• Tanya Tucker
• Anne Murray
• Rose Maddox
• The Browns (and/or Jim Ed Brown)