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.

“Every Little Thing” and Carly Pearce’s fabricated fairy tale

The deeper I lean into the marketing of mainstream country music, The more I’m seeing the blatant manipulation. It’s no secret that Keith Hill’s comment that women are the tomatoes on the salad was offensive and misogynistic, but it was also, unfortunately, spot on. Women, unless they are members of a group, duo or collaboration also featuring men, have been shut out of even marginal airplay. Miranda Lambert is justifiably pissed at her diminishing returns, even as her music veers more and more towards Americana.

Media outlets that cover mainstream country have been celebrating the success of Carly Pearce’s “Every Little Thing” with Rolling Stone Country saying she “defied the odds with risky song” in a recent headline. I’ll admit, it’s against the norm, in this current climate, to release a ballad and have it succeed. The slower a song is the less likely it will fall under what is deemed “radio friendly.” That logic is nothing new.

But what’s baffling is the suppression of the truth. Carly Pearce is succeeding on her own merit about as much as Thomas Rhett. This grand success story? It’s all courtesy of iHeart Media and their “On The Verge” program. “On The Verge” exists to help struggling artists succeed and pretty much guarantees them a #1 hit. It’s the only reason former American Idol runner-up Lauren Alaina scored a chart topper with “The Road Less Traveled” seven years after her debut album bombed into oblivion. There’s absolutely no fairy tale here, no reason to cheer or even get excited. These feats are political manipulations swept under the rug disguised as major success stories.

We’re at a crisis point right now with female artists. Not only are none getting airplay, there really aren’t any in the mainstream sector for radio to embrace. Brandy Clark and Sunny Sweeney would never get airplay for the latest music, in any era, since they’re 40 years or older. Ashton Shepherd didn’t connect, with her heavy twang, so MCA dropped her. Ashely Monroe was told, on her last radio tour, that “On To Something Good,” was dead on arrival. Kacey Musgraves has done next to nothing to endear herself to the mainstream audience beyond wearing crazy outfits and adorning her sets with neon cacti. She will join Harry Styles on tour next year. Will Maren Morris connect? Possibly, as she’s already building a following. But I would think she’d have to prove herself as more than the “80s Mercedes” singer. “I Could Use A Love Song” has done that for me, but it’s only a step in the right direction for her to take as she contemplates her follow-up to Hero.

About the only person, we can count on is Carrie Underwood, who is currently in between albums. Time will tell if her newly minted deal with Capitol Nashville, the label that refused to sign her as a pre-teen back in 1996, will yield further success. I can’t imagine her being blackballed but I never thought Dixie Chicks would fall from grace like that either. In this market, anything is possible.

Is there a solution or silver lining in all of this? I honestly have no idea. I never imagined mainstream country music would ever be in this bad a shape in my life. It took until I got to college to see why Luke Bryan has been able to succeed like he has. He’s tapped into an audience previously ignored by country music, those who love to socialize and party and be high on life. He’s like the male Taylor Swift in that sense. He’s found his audience and he’s running with it all the way to the bank.

This era is the building block for whatever comes next. Has anyone else noticed the glaring oddity of Sam Hunt’s “Body Like A Backroad?” The song has succeeded without a music video, parent album or physical release of any kind. I can’t remember any other massive song that lacked even one of those three elements. These are uncharted waters and they’re reaping big rewards.

Maybe you know where we’re going from here. I know I probably shouldn’t care, and I have spent the majority of this year focused on independent releases, but I do. I can’t help it. It’s in my nature as female artists have always been my favorite, the ones I listen to most frequently. I guess Angaleena Presley and her fellow Pistol Annies said it best:

Dreams don’t come true

They’ll make a mess out of you

They’ll hang around the darkest corners of your mind

They’ll beat your heart black and blue

Don’t let anyone tell you they do

Dreams don’t come true

 

I hate to put a damper

On the fairy tale you pictured

I shoulda known all along that

Glass slippers give you blisters

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 58th Annual Grammy Awards

Country music fans have much to look forward to come Grammy Night, which is coming up on Monday this year. Carrie Underwood and Sam Hunt will croon their duet “Heartbreat.” Chris Stapleton is slated to join Bonnie Raitt and others in a tribute to B.B. King. Luke Bryan is joining a slew of pop artists in honoring Lionel Richie, who is the Grammys MusiCares Person of the Year. Little Big Town will take the stage as well.

Best of all is the last minute announcement is that Eagles will honor Glenn Frey along with their good friend Jackson Browne. The rest of the show promises to be equally as jammed packed, with just about every major artist under the sun slated to take the stage.

Here are my predictions for the country nominees, plus categories that feature artists marketed within the country or American Roots genres. Please leave a comment and let me know who you think/hope will walk away with Grammy Gold.

Best Country Solo Performance

This is a very solid group of nominees. Perennial favorite Carrie Underwood has lost this category only once – when Taylor Swift’s “White Horse” bested “Just A Dream.” Cam, surprisingly, is the weak link. Her hit version of “Burning House” is nowhere near as good as Emily Ann Roberts’ from The Voice last season. Who would’ve imagined a contestant on a reality singing competition would find the hidden nuance in a song its own singer couldn’t?

Should Win: “Chances Are” – Lee Ann Womack has yet to win a single award for her seventh album, a transitional record that showcased the artistic sensibilities she’s only hinted at until now. This is the album’s finest track, possibly the greatest performance she’s given to date. Real country music deserves to slay the competition.

Will Win: “Little Toy Guns” – It’s a fool’s game to bet against Carrie Underwood. Not only does she stand the strongest chance of winning, she’s the only one powerful enough to stop Chris Stapleton in his tracks. He will walk away a Grammy winner before the night it through, it just won’t be for the title track of his debut album.

Best Country Duo/Group Performance

This is a hodgepodge of nominees, with some forgettable performances along side some treasures.

Should Win: “If I Needed You” – Joey + Rory have the sentimental vote and a serge in name recognition since Joey’s cancer turned terminal last fall. They deserve to walk away the winner on what is their first and will likely be their only Grammy nomination.

Will Win: “Girl Crush” – There’s no stopping the Little Big Town behemoth, which is also in the running for the overall Song of the Year award. No one else is going to win this award.

Best Country Song

This is a heavyweight category, with a few extremely worthy nominees. I would love to see an upset here, but like the category above, there’s a very clear winner.

Should Win: “Hold My Hand” – Brandy Clark stole the show with her simple performance of this tune on last year’s telecast. The story of a woman determined to hold on to her man in the face of his ex is an instant classic. Clark deserves the prize for a tune she wrote and smartly kept for herself.

Will Win: “Girl Crush” – Should they lose Song of the Year, this will be their consolation prize. Should they win both, this will serve as icing on the cake.

Best Country Album

Of all the country categories, this is easily the weakest. Little Big Town’s album was a dud, Kacey Musgraves’ was charming yet very uneven and Sam Hunt is…Same Hunt. The Grammys do deserve credit though – this is the first time in her career that Ashley Monroe has been nominated for an award for her own music.

Should Win: Traveller – I’m not fully on the Chris Stapleton bandwagon, but he does have the strongest album in this bunch. 

Will Win: Traveller – This is one, if not the only place, the Chris Stapleton bandwagon won’t be stopped.

A few more Predictions:

Best American Roots Performance: I’d like to see Punch Brothers take this and finally win a Grammy of their own.

Best American Roots Song: Jason Isbell and “24 Frames.” The genius in the lyric is criminally underrated.

Best American Roots Album: I liked the upbeat nature of Punch Brothers Who’s Feeling Young Now better than the somber tone of The Phosphorescent Blues. They still deserve it, but I’d love to see Jason Isbell take this one. He hasn’t been recognized enough for his brilliant work.

Best Bluegrass Album: I haven’t a clue, but it would be interesting if the Steeldrivers take home an award the same night as their former lead singer Chris Stapleton does the same. If not, I’d go with Dale Ann Bradley.

Album of the Year: A strong category from which I’ve heard cases for each nominee to win. Stapleton could take it, as could Alabama Shakes. But I’m going to go with Taylor Swift’s 1989, easily the most important pop album of the eligibility period.

Song of the Year: Taylor Swift has never won an award for her pop work with Max Martin. I expect that to change this year, when “Blank Space” deservedly takes this category. “Girl Crush” has a shot, but “Blank Space” is far more developed and clever.

Best New Artist: I’ll take a shot in the dark and choose Courtney Barnett. I just don’t see how this award could go to Sam Hunt. But stranger things have happened.

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.

Country 102.5 WKLB rebrands canceling Sunday Morning Country Oldies

Want yet another example of the corporate machine striking again? Well, here you go – Country 102.5 WKLB, Boston’s twenty-one year old country music station has cancelled their ‘Sunday Morning Country Oldies’ program after a twenty year and five month run, replacing it with the same mix of bro-country and progressive sounds that litter their airwaves every other hour of the week.

The move comes in response to the decision by 101.7-FM to switch from an EDM format to country, giving Boston two country music radio stations for the first time. This new station, run by Clear Channel and billing itself as ‘The Bull’ in a shameless effort to covet the younger country music audience, is the ultimate soul sucker. They’re running an uninterrupted commercial free summer to draw in listeners and have slotted the Nashville produced (i.e. syndicated) Bobby Bones Show during the coveted Morning Drive hours.

According to the Boston Globe article announcing the format switch at 101.7, Dylan Sprague, vice president of programming for Clear Channel Media and Entertainment Boston, says the format switch is in accordance to the changing tastes of listeners, most of whom wouldn’t have considered themselves country music fans even ten years ago.

To achieve this goal, 101.7 has launched a “comprehensive search” for DJ talent, as Sprague puts it, to be put on air after Labor Day. The Boston Globe article doesn’t divulge how they plan to find this talent, or even how hard they plan to “search” but at least they have plans to bring a personal touch to the station, who’s call letters are WBLW, and aren’t planning on a syndicated format around the clock.

So, where does Country 102.5 WKLB, Boston’s Country Music Association award winning country music powerhouse, play into the equation? Well, in response to the new station they’ve rolled out what they hoped would be a subtle rebranding campaign as “Boston’s New Hit Country,” which in turn left no room for the venerable oldies program on Sunday mornings.

Sunday Morning Country Oldies began in January 1994, running 8am-noon with the hits from bygone eras no longer heard on mainstream radio. Hosted by Michael Burns and Stu Fink, the program most recently heavily featured 70s, 80s, and 90s country with a nod back to the 60s with a ‘classic oldie of the hour’ like Glen Campbell’s “Gentle On My Mind” or Roger Miller’s “King of the Road.”

Up until 101.7 switched formats, the Oldies program was going strong with no signs of imminent cancelation. This spring they even dedicated shows to featuring tracks from and giving away copies of Johnny Cash’s Out Among The Stars and Ronnie Milsap’s Summer Number Seventeen in coordination with the artists promotional teams in Nashville. On Mother’s Day, they played Jimmy Dean’s tearjerker ‘I.O.U.’ once every hour.

Now the program is gone, cancelled without warning to the listeners or the hosts themselves. Burns and Fink were told on June 16 that their final show had aired the day before. Burns will continue his relationship with Greater Media, who owns WKLB and a host of other stations, while Fink has been let go entirely. The fans of the program, who where wondering what was going on when they tuned in this past Sunday, flooded WKLB’s Facebook page with messages lamenting their anger.

Listeners reminisced about tuning into the program with their 97 year old parents or listening with their spouses who originally hailed from Texas and couldn’t find this music anywhere else beyond CDs and such. Others downright disowned the station and planned to never listen again.

As one of those disgruntled listeners, I’m deeply saddened by the show’s cancelation, but I’m not surprised or shocked at this move by Country 102.5 WKLB. We live in a world, especially with regards to media, where corporate greed wins out every time no matter how it might effect a entity’s image or well being within the community.

I’ve had by soul shattered by the continuing devolution of country music for years now, and I’d be a fool to think it could possibly recover even to a fraction of what it once was and should’ve always remained. The mainstream country music genre and establishment, no matter how much money it makes on a daily basis, is corrupt and morally bankrupt.

If I didn’t understand that fact before, the cancelation of Sunday Morning Country Oldies makes it loud and clear. This move puts Country 102.5 WKLB on par with 101.7 instead of establishing themselves as an exception to the rule. Sunday Morning Country Oldies is what helped them stand out from the pack and retain the older country music audience in and around Boston starving for authenticity out of the music they love. Without it they’ve lost, my 26-year-old self included, whatever fraction of that audience they had left.

I’d have to be an even bigger fool if I thought this move would significantly impact Country 102.5 WKLB’s bottom line. Will they suffer as a result of cancelling Sunday Morning Country Oldies? Of course they won’t. WKLB makes their money off of the latest and greatest in country music and their pivotal role of turning Boston into a must visit city for all major country music tours. With the growth of country music, they’ve become the number one most listened to station in Boston with ratings going through the roof. Country 102.5 WKLB hasn’t been this popular at any other point in its 21-year history.

With those statistics, it’s hard to believe they’d be so insecure about loosing their audience to 101.7 that they’d quickly rebrand and yank their Sunday morning oldies show. I find it mind boggling that a weekly four-hour block of classic country on a Sunday morning would deter listeners to another station. They seriously believe that fans are so impatient they can’t wait until noon for the likes of Florida Georgia Line, Luke Bryan, or Jason Aldean? The thinking here, suggested by the cancelation of Sunday Morning Country Oldies, is flat-out ridiculous.

Michael Burns (Left) and Stu Fink – hosts of Sunday Morning Country Oldies

Without so much as a press release or statement from Country 102.5 WKLB explaining this move in their own PR spun words, is there any hope going forward for the fans of the program? With the damage already done, they’re shouldn’t be. By making the move in the first place Country 102.5 WKLB have shown their true colors as a station just like all the rest, a follower of demographics and industry trends. Keeping the show alive would’ve been the bold move, a stance against the devolution of corporate radio at a time when a protest is needed most.

There’s been speculation about Burns and Fink trying to revive the program online or through another medium but any formal announcement, beyond a ‘Save Sunday Morning Country Oldies’ Facebook page has yet to come down the pipeline. I sincerely hope they get the last word in all of this as they are the true victims here, lovers of classic country who had their voice diminished without as much as a chance to officially thank their listeners for twenty great years.

As for Country 102.5 WKLB, they can be yet another voice diminishing real country music on the airwaves, catering to the mainstream audience that’s done more to murder music row than any artist in Larry Cordle’s song.

WKLB, go and cram Luke Bryan’s August coming out party at Gillette Stadium down our throats. Its okay, now that we’ve seen who you really are once and for all.

Further Reading: 

Boston Radio: New Sheriff In Town Country Is #1

Clear Channel converts 101.7 to country music format

WKLB DROPS “SUNDAY MORNING COUNTRY OLDIES”

 

Favorite Country Singles of 2013: 10-1

It was just a few months ago, I was in panic mode. How the heck am I supposed to compile and rank a list of favorite singles when the majority of country music, especially mainstream terrestrial radio country, left me numb? Hell, I don’t even have a can’t-live-without favorite single from 2013. I don’t know when the tide turned, but I was once again able to rank a list I’m very happy with. None of these were big hits (although #8 did chart top 15), but they were the artistic statements that should’ve ruled the airwaves. The genre would’ve been better off if they had.

10. Bruises – Train Feat. Ashley Monroe 

Two high school classmates run into each other for the first time since graduation ten years ago. He marvels at her ability to retain her beauty after having two kids, while she’s glad to hear he’s finally left their suffocating small-town. Lovers or not, they’ll always be linked by their bruises – those moments in life resulting in a stumble on the path to enlightenment.

Hailing from San Francisco and making his mark in pop music, Train’s Pat Monahan is forgiven for recycling Phil Vassar’s “Carlene” just about word-for-word. This take on the tale stands out, though, because he gives voice to the female perspective through Monroe who turns in a buttery vocal that’s one of her finest moments she’s ever committed to record.

9. Sober – Little Big Town 

The centerpiece of Tornado, “Sober” proves there’s life beyond Karen Fairchild whose position as the band’s lead singer has left little diversity in their radio offerings of late. Whether or not this turns into the hit it deserves to be, it’s good to see the criminally underrated Kimberly Schlapman given her due. She’s more then just a pretty face, and is finally able to prove that here.

8. All Kinds of Kinds – Miranda Lambert

Lambert’s best single since “The House That Built Me” is Don Henry’s timeless ode to diversity that makes a strong statement without seeming preachy or political. These are the types of quality records that helps Lambert stand above her competition, schooling them on how to challenge the listener with substance while honing the artistic image that’s made them famous.

She howls, ‘When I stood up in Geometry and everybody stared at me as I tossed my test into the trash’ with the same bite she brings to her revenge anthems, but you feel the weight of maturity from an artist who isn’t afraid to grow in a market that rewards stagnation around every corner. Lambert is a fully modern country singer, but “All Kinds of Kinds” proves she isn’t done pulling new tricks out of her sleeve.

7. Blue Ridge Mountain Song – Alan Jackson 

Leave it to Alan Jackson, three years after being blackballed by country radio, to release one of his greatest singles – an old fashioned testament to true love sprinkled with trademarks of the bluegrass tradition. He may move the story a little too quickly, in order to get to the twist towards the end, but he does everything else right. May this mark the beginning of an exciting new chapter in his career.

6. Over When It’s Over – Eric Church 

With Luke Bryan and Jason Aldean facing deserving near-constant criticism for their shallow lyrics and douche bag behavior, their “Only Way I Know” counterpart Eric Church has been givin the space to forge his own path. Instead of rapping about trucks and dirt roads, he has consistently crafted original compositions that possess a decidedly rock edge, but are cut from the cloth of classic country (“The Outsiders” notwithstanding).

“Over When It’s Over” is a sparse reflection on a relationship gone sour, with both parties going their separate ways through a seething fog of regret. What the track lacks in production is compensated for in Church’s tour-de-force vocal conveying the perfect amounts of anger and sadness. It’s the best track from Chief, and while it could’ve used accents of pedal steel in its execution (and how cool would’ve been if Natalie Maines could’ve provided the backing vocals?) what we have is just enough to make it stand out from the pack.

5. Stripes – Brandy Clark

Shane McAnally had the idea to write a song called “Orange” about a woman who stops short of killing her cheating husband because she doesn’t look good in the titular prison color. He brought the idea to Clark, stuck on the fact nothing rhymes with his clever hook. She turned it around saying “but everything rhymes with stripes.”

Their meeting of the minds resulted in a wickedly smart cheating song littered with originality and quirky turns of phrase (“there’s no crime of passion worth a crime of fashion”) that reveal the underlying humor underscoring the uptempo numbers on 12 Stories. Clark’s ability to find comedy in some of life’s most despairing moments is one of her greatest skills as a songwriter.

 

4. Blacktop – Alan Jackson

“I was glad to see the blacktop, no more dust in my eyes” and with that Jackson lays down the gauntlet in opposition to bro-country with an act of striking civil disobedience. How refreshing is it that twenty-four years into his storied career Jackson still has something meaningful to contribute to the country music landscape?

3. Elephant – Jason Isbell 

The mark of a great songwriter is their ability to take well-worn themes and make the listener feel like they’re hearing them for the first time. In an era saturated with an “I’m Gonna Love You Through It” mentality, where hair is replaced with “Skin” and women are “Tough,” Isbell is just trying to ignore the elephant in the room and let his woman enjoy what little life she has left – letting her get drunk and high, joke about her harsh reality, and sing although her voice is nearly gone.

He’s the truest of friends, there for her but not a burden. He just wants one night where they both forget the bitter truth staring them squarely in the face, an impossible proposition seeing as he’s an emotional wreck bursting at the seams, a levee that miraculously hasn’t breached. Never has the word “somehow” been packed with so much meaning.

2. Hangin’ Up My Heart – Emmylou Harris & Rodney Crowell

The best track from Old Yellow Moon is this ripped from the 1970s traditional number penned by Crowell for Sissy Spacek’s lone early 1980s country album. The pair sound invigorated here, with a renewed freshness that showcases what the resulted album could’ve and ultimately should’ve been.

1. Follow Your Arrow – Kacey Musgraves

The most important country single of 2013 is a gay-rights battle cry openly embracing a love who you love mentality in a genre where anything ‘gay’ is almost non-existent. Musgraves is a new age Loretta Lynn not afraid to speak her mind and be open towards her beliefs. Her boldness is refreshing and hopefully the seed that gives her fellow contemporaries the guts to bring substance to their music again.

The Worst Country Songs of 2013, Part II: 10-1

Last August, when Florida Georgia Line’s “Cruise” became the biggest country single of all-time by logging the most weeks at #1 by a song in the history of the Billboard Hot Country Singles Chart, Jody Rosen of Vulture defined the current strain of mainstream country trends as ‘bro-country’ or “music by and of the tatted, gym-toned, party-hearty young American white dude.” Bro-country is by and large one of the worst epidemics to ever strike mainstream country, far worse then the Urban Cowboy era, 90s Hat Acts, or The Nashville Sound. The roots of this ‘sub-genre’ are 80s arena rock and 90s hip-hop and are about as far away from the traditions of country music as Sidney, Australia is from New York City. This drivel is a surprising hit, and why not? It appeals to the adolescent and college set who buy songs and fill stadiums. It also, unequivocally, makes for the worst music in the history of the country genre.  Compiling this list was easy, with ten reasons why most people cannot even stomach mainstream country anymore:

10. Parking Lot Party – Lee Brice

is there a chance Lee Brice may be the only male country singer to understand the concept of balance? I could knock him for recording this awful cliché-drenched ode to tailgating, but it comes on the heels of “I Drive Your Truck,” a surprisingly substantive moment in mainstream country this year. It’s just too bad he needs to offset a steel-heavy ballad with a desperate attempt at remaining a hero to the teen and college set.

9. Days of Gold – Jake Owen

One of the benchmarks of a great country song is the ability to be drawn in by the story through production and vocals that help, not hinder, the listener’s ability to understand the lyrics. That simple logic has been thrown out the window here, which in part is smart given the vapid nature of this song. There’s nothing here but summertime cliché after summertime cliché sung in rapid-fire succession behind a wall of irritating sound. Owen wants more substance in his music, but if he keeps playing to radio, he’s not going to achieve that goal anytime soon.

8. Southern Girl – Tim McGraw

Twenty years into his career, Tim McGraw proves he’s a master at curtailing his music to fit whatever trend will help him score huge radio hits. “Southern Girl” isn’t as nonsensical as “Truck Yeah” but with dumb rhyming schemes and irritating echoes, it’s just as annoying.

7. Aw Naw – Chris Young

Like it or not, Chris Young’s traditional country career ended the second “Neon” stalled at radio. In the course of three singles songs like “The Man I Want To Be” and “Tomorrow” were out of fashion as the new wave of bro-country swept in like a tsunami. So what’s a twenty-something guy to do? Make like Dierks Bentley and suppress his artistic sensibilities in an effort to stay in the good graces of country radio. “Aw Naw” is the first, and certainly not the last, example of the theory working wonders for Young. Oh, how I miss the days when an artist could record quality songs and be rewarded with big hits.

6. DONE. – The Band Perry

Imagine my immense disappointment when the group that gave us my favorite country song so far this decade (“If I Die Young”) churns out this mess as their new single. “Done” is an appeal-to-the-tweens breakup anthem that’s too loud and would’ve even been immature coming from Taylor Swift on her debut album seven years ago. This is just another example of a worthy talent being compromised by the commercial country machine in order to make their label (once again run by Borchetta) millions.

5. 1994 – Jason Aldean

Like most of Jason Aldean’s singles of late, ‘1994’ has no narrative to speak of, no point to its existence, or any artistic credibility whatsoever. Aldean is singing about a man once nicknamed ‘Joe Ditty,’ in a song that makes “Pickup Man” and “John Deere Green” sound like the second coming of “He Stopped Loving Her Today.” When tribute songs are of a far lesser quality than the music of artist they’re honoring, is there even a point?

4. Boys ‘Round Here – Blake Shelton

As evidenced by the massive success of Duck Dynasty there’s a redneck craze sweeping America that songs like this buy right into. Shelton is pandering like never before making him the most successful he’s ever been in his ten+ years as a recording artist.

Shelton’s embrace of the culture isn’t the problem here, it’s that he’s doing at the expense of country music. He’ll clearly do anything to stay popular including rap and chant cliché after cliché. Worst of all, though? He’s recruited a cast of fellow singers (Miranda Lambert Ashley Monroe, Josh Turner, etc) to join him in saluting his forbearers with a big ‘ol middle finger while he laughs all the way to the bank. Just thinking about it makes me sick.

3. Cruise – Florida Georgia Line featuring Nelly

The newly minted CMA Single of the Year is the worst novelty hit in decades. The rap remix is nothing more then ‘Anti-Christ’ Scott Borchetta cementing his stronghold over commercial country, and his dominance as dictator of Music Row. He’s becoming more of a problem then his artists at this point.

2. That’s My Kind of Night – Luke Bryan 

Zac Brown dubbed it ‘the worst song he’d ever heard’ and it’s hard to disagree. An obvious attempt at pandering to trends in order to stay relevant, “That’s My Kind of Night” is one of the laziest pieces of drivel ever recorded by a superstar in their supposed commercial prime. With the eyes of the world on him, Bryan should be using his platform to record good quality country music – not this faux-rap garbage.

1. Redneck Crazy – Tyler Farr

Who would’ve thought we’d see the day when an up and coming country singer would score their first major (i.e. top 5) hit with a song about a guy who stalks his ex-girlfriend after she’s moved on with another man? He’s also about to get violent declaring, “I didn’t come here to start a fight, but I’m up for anything tonight, you know you broke the wrong heart baby, and drove me redneck crazy.”

Farr has defended the track, saying every woman wants a man who loves them that much while Martina McBride has squashed comparisons to “Independence Day” saying the domestic abuse in her 1994 hit is in no way comparable to the unhinged man at the center of Farr’s hit. In any event this tasteless muck (co-written by Josh Kear and Chris Tompkins of “Before He Cheats” fame) is another low for country music, in an era in which everyone seems to be trying to out do themselves for the lowest levels of douchedom. Count me out.

A Separation of Church and State: How the Country Music Association mostly got their nominations right this year

In 2006, the Country Music Association sent Faith Hill a clear message when Carrie Underwood was awarded Female Vocalist of the Year, only two singles removed from winning American Idol. They were ushering in a changing of the guard that sent ripple effects through country’s core women, making way for new talent at the helm.

Underwood has received a similar message this year with Taylor Swift being nominated for Entertainer of the Year in her place. Swift may be a bigger celebrity with a broader reach, but Underwood’s no slouch – a sold out tour, four #1 singles, ambassadorship for country music, and she’s been hosting the ceremony going on five consecutive years. Heck she just took over Sunday Night Football theme song duties.

In recent history all the top solo female artists (Reba McEntire, Shania Twain, and Faith Hill) have been nominated and won (Hill lost to Dixie Chicks in 2000) while her contemporaries Swift has won twice and Miranda Lambert received her only nod to date in 2010. That Underwood is being snubbed yet again is one of the biggest injustices in the 47-year history of the award show. Underwood and Swift should be competing in the category together – they both have rightfully earned their place in the category.

Underwood aside, it’s nice to see the Country Music Association mostly get it right this year. The major theme of the nominations is artistic quality, as evidenced by Kacey Musgraves receiving six nominations, a move I didn’t see coming. She’s been building a lot of buzz this year but with little support from country radio, I hardly gave her a chance. Her nominations prove the CMA is still looking for quality contemporary music and actually care about maintaining at least one shred of dignity. They should’ve gone further and showered Ashley Monroe with praise, too, but her outsider-looking-in status likely left her a square peg in a round hole and she was deemed too Americana for this mostly mainstream affair.

There was once a time when you could count the number of females who’ve taken home Album of the Year on one hand. That list has grown in the past few years thanks to wins by Lee Ann Womack (2005), Taylor Swift (2008) and Miranda Lambert (2010). This year Blake Shelton stands alone as the only solo male artist in the category, proving that airplay on country radio isn’t the only factor in scoring a nomination.

I believe whole heartedly that you cannot deny an artist success once they’ve achieved it, no matter how much you may dislike the singer or their song. The world may cry foul over Florida Georgia Line and “Cruise,” but they clearly earned the Single of the Year, Musical Event of the Year, Duo Of The Year, and New Artist nods. The song is a behemoth and is clearly being rewarded as such. Swift’s showering of affection is more puzzling, since the success ofRed came in the pop market, but “Begin Again” and “Highway Don’t Care” did keep her relevant in her home genre this year.

Where the Country Music Association deserve the most credit is with the separation of church and state – if you notice, “Cruise” isn’t in the Song of the Year race nor is Here For The Good Times up for Album. In fact, none of the genre’s biggest names (Luke Bryan, Jason Aldean, or Shelton) have a Single or Song of the year nod, something I never thought I’d see. Absence by ‘bro-country’ powerhouses leaves the likes of “Merry Go ‘Round” and “Mama’s Broken Heart” to battle it out for the win.

It’s nice to see Nashville songwriters back in the Song of The Year race, too. Even more impressive is the CMA’s distinction in excellence, seeing that the best of commercial Nashville scored big, while the laundry list lovers are left to voyage down dirt roads with beer kegs, country girls, and pickup trucks. Brandy Clark and Shane McAnally are two of the best writers around right now and combined with Musgraves, they’re killer. What other writing team can claim two nominations in the same year?

In sizing up the New Artist competition, I was about to show my denial of a mass extinction, until I looked at the Billboard Airplay Chart and noticed “Parking Lot Party” in the top 10, on it’s way to becoming Lee Brice’s fourth consecutive number one. Like fellow nominee Kip Moore, he’s becoming a force for the future, and with his single “I Drive Your Truck” up for Song of the Year (Brice doesn’t have a writing credit on it), he has a better chance of winning than I gave him credit for initially. This is a very strong category, although Musgraves is the only nominee with proven artistic potential, a necessary ingredient for longevity.

I’ll have my predictions closer to the November 9 telecast, with a breakdown per category, and thoughts on each individual race. But overall the Country Music Association deserves credit for getting more right than wrong this year, mostly opting for artistic integrity over commercial viability.

Check out all the nominations here.     

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

 

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.