Greatest Artist compilation lists had, have and will always stir up controversy. Nothing is as sacred as your own favorite singer and when he/she doesn't make the list or is ranked in the nose-bleed section, fans feel betrayed. Part of it has to do with a social feeling of suddenly being marginalized by listening to an artist that did not make the A-List. Such compilations also always come up with omissions or inclusions that shouldn't be listed. And the new list by music publication Rolling Stone magazine listing the "100 Greatest Country Artists of All Time" does exactly what I just tried to explain.
RS asked 14 journalists to come up with the ultimate artist list, that defines country music. Well, a list like this doesn't just contain artists from last year or even the last decade. Country Music has a rich history, where the "commercial" origins of it, started 90 years ago with the so-called "Bristol Sessions" in Tennessee. Ralph Peer representing Victor Talking Machines recorded 76 songs by 19 performers during the 12 days he stayed in Bristol. Not only did the recordings introduce the traditional music of southern Appalachia, but they also generated the first two superstars, The Carter Family & the yodelln' brakeman Jimmie Rodgers of what later would be called country music. Western Swing with its probably most famous fiddler, Bob Wills followed roughly a decade later. Hollywood cowboys sang in movies and after starting in 1925, the Saturday night portion of the Grand Ole Opry became nationwide when it was picked up by NBC in 1939.
The war years and their aftermath (socially, economically) not only changed society but music as well. Suddenly songs about drinkin', cheatin' and havin' a good time were as popular as the old story songs and gospel music from before the war. A secularization of the themes started to appear, women entered the workforce and wanted to be looked upon as equal to their partners. New instruments and sounds appeared. Several sub-styles started to disappear like the cowboys in the prairies, Western Swing and other forms led to rockabilly and Rock'n'Roll. People started to go out to clubs and Honky Tonks to either drown their sorrow or to find a new honey just to dance with. The West Coast had its own California or better Bakersfield sound, that was rawer than what the by now slicker styles out of Nashville were offering. A whole outlaw movement came in the 70s when artists were fighting to keep creative control on what they want to record and want to be released to the public. With smoother Soul, R&B and Pop influences, country music was pronounced dead in the mid-80s by the New York Times only to be shook up a year later with the arrival of new traditionalist movement, trying to take country music back or at least incorporate some of its roots. New marketing ideas led country music from the clubs and dancehalls into arenas and stadiums, simple performing shows now became "circus" events for the masses. And sure enough by the end of the century, the music started changing again, less and less of what is considered having its roots in one of the many styles country music went through were abandoned. Today's major artists with a few exceptions offer a non-distinguishable contemporary sound with modern R&B, Hip Hop and EDM influences.
So what I tried to put into two paragraph synopses encompasses the whole history of country music - and I'm sure I may have omitted some sub-genres, the 14 compilers had to go through. Basically a rich 90-year-old history of what defines American music and to come up with just 100 of the Greatest Country Artists of All Time. So before you start complaining that Bobby Lee or Bobbie Lou are missing, unfairly ranked, or shouldn't be on this list, envision the above synopsis of 90 years musical evolution and history.
I don't want to leave any spoilers and rankings because you should have your own experience with the list. And I'm sure that your taste, your surroundings, your upbringing and your listening habits, as well as your age, may produce a slightly different list. So now I'm looking forward to your comments. What would YOU have done differently?
Here's a short spoiler video depicting the Top Ten of the genre.
Late August last year, "Queen of Bluegrass" Rhonda Vincent announced on her Facebook page that she's recording a duet album with 90's traditionalist Daryle Singletary and posted the above picture of them both in the recording studio.
Singletary, a mid 90's traditionalist, who had Rhonda singing background on his debut album on Giant and later on his indie releases was all excited “If you love traditional country music, and remember songs originally sung by well-known duet partners like George Jones and Tammy Wynette, Conway Twitty and Loretta Lynn, and Merle Haggard and Bonnie Owens, this is a must-have CD that we are extremely excited about.”
Rhonda, who branched out from Bluegrass to traditional Country Music before, like on her 2014 album "Only Me" praised Singletary as one of the best singers in this generation of country music and went on to praise him even more: “It’s so fun to sing with someone who challenges me as a singer. The songs were given great thought, along with one that was totally unexpected. It’s one of the best projects I’ve ever been part of. I am so proud of this recording, and I cannot wait for the world to hear our wonderful creation, American Grandstand.”
Now about a month (release date is July 7th) before "AMERICAN GRANDSTAND" is hitting the stores, Daryle and Rhonda are heavily promoting it during CMA week (formerly Fan Fair) in Nashville with several shows. Being one of 20 acts not to miss according to music magazine "Rolling Stone," one of the shows they performed together at, was the "Music City Roots - Live From the Factory" Show hosted by Jim Lauderdale on June 7th, where the opening track of "American Grandstand," the Harlan Howard penned classic "Above And Beyond" was then shared to YouTube. First recorded by Wynn Stewart as a single in 1960, then by Buck Owens later that year, and then Rodney Crowell in the '80s, who celebrated his fifth number one song with the classic, it's nice to see that timeless song done as a duet.
Besides "Above And Beyond" and their current single "One" the list below reveals the full tracklist of "AMERICAN GRANDSTAND," the title track actually a new song actually written by Rhonda Vincent as part of their collaboration.
American Grandstand Track Listing:
1. Above and Beyond
2. One
3. After The Fire Is Gone
4. American Grandstand
5. Slowly But Surely
6. As We Kiss Our World Goodbye
7. Can’t Live Life
8. Golden Ring
9. We Must Have Been Out of Our Minds
10. Louisiana Woman Mississippi Man
11. A Picture of Me Without You
12. Up This Hill and Down
If you would like to pre-order the "American Grandstand" and get an immediate download of their current single "One," you can click here.
For more information about Music City Roots - Live From the Factory in Franklin, Tennessee, for a schedule of upcoming artists performing on the show and a direct link to see a streaming video, visit their official website - you may also find information on their facebook page
"Own It," debut by 18-year old Washingtonian, Bailey Bryan is another blatant attempt to promote and appeal bad pop music as country to oblivious suburban teenagers throwing a tantrum. And no it's not a cover of Drake's 2013 song with the same title. Even though the song - according to press releases - is supposed to have a positive message, it does not. It advocates to not listen to everybody else (even parents?) and transmits the typical feeling of youth today, that everybody owes them, that they are entitled and that life is gonna be a breeze. Well, hello real world!
Driving to school in Sequim [Skwim] behind tractors is about the extent of her country raising, else she was drawn to the big city to the East, Seattle to indulge in the underground hip hop and alternative scene. She cites Drake, Nirvana, Macklemore, and the Red Hot Chili Peppers as influences. She must have heard Drake's song and decided to write her own "Own It."
By 15 she was signed by song publisher Kompass Music and started to make monthly trips to Nashville to write and co-write songs. One of her mentors and co-writer of "Own It" is master tunesmith Dennis Matkosky, who had number one hits in every music genre besides Rap and who has worked with everybody from Diana Ross, Cece Winans, Chicago to LeAnn Rimes and Keith Urban. The other co-writer, Casey Brown is currently touring with Rascal Flatts as a band member and according to Rolling Stone magazine, is the one responsible to turn RF on to some EDM beats.
All the press releases and the copycats thereof on their according to websites like "This Smells Like Rotten Nashville" praise "Own It" as a ditty of genuine honesty and wisdom beyond the young gal's age. Really? It caters to teen-angst-ridden millennials conveying the Kumbaya message about finding your true self. Go for it, and then let reality smack you in the face. The pursuit of happiness is long gone, remember you'll never get out of this world alive.
“’Own It’ is so special to me because it’s not only one of the most autobiographical songs I’ve written, but it pretty much embodies the way that I hope to inspire other people with my music,” Bryan was quoted on a PR sheet. And it got even worse: “My dream is to see people listening to songs like this one and feeling more understood, and more confident about themselves…not to mention having FUN. I’m so excited that I’ve been blessed with the opportunity to do that with my music.”
For how abstruse the lyrics are from reality, keep on reading; else jump to the video below.
Own It
I'm right even when I'm wrong
I break things like hearts and iPhones
Patsy Cline when it's raining
In the car with my friends, I'm Jay Z
Can't dance but I won't stop
In my little black dress and hightops
Don't care but still get jealous
Without GPS, I'm helpless
But I'm not gonna stress
I'm such a beautiful mess
[Chorus]
Who cares what they say
I never listen anyway
In my head, yeah I'm cool
Gonna keep making my own rules
So call me crazy
Dysfunctional, maybe
I don't care, I'll show it
'Cause I own it
Own it, own it
'Cause I own it
Own it, own it
Oh, oh
I'm ambitious but don't like work
I write love songs, can't flirt
Awkward in conversation
But I'm Shakespeare when I'm texting, ha
Sweatpants but I'm still a lady
Trip and fall in public, gracefully
Wild, but I'm nerdy
I party hard 'til at least 9:30
[Chorus]
[Bridge]
Own your coolness
Own your crazy
Own your story in the making
Own your passion
Own your style
Own your stupid
Own your brave and
Own your wings and your mistakes
Own your style
Own your stupid
We're not gonna stress
We're all such a beautiful mess
[Chorus]
Musically the song is packaged into a mediocre pop jam, with undoubtedly a catchy, but non-distinct groove to it, like every other cookie-cutter contribution out of the city on the banks of the Cumberland. Simply forgettable as it sounds like everything else on the radio these days. Her rather weak, run-of-the-mill voice doesn't help either to promote it. She simply doesn't "Own It" to be a star (yet).
The only thing that may help Bryan is her strong worldwide management company, Red Light Management, which also handles the affairs of douchebags Sam Hunt and Luke Bryan (no relation) - maybe an opening gig on one of these guys' tours may help spread the bubbly message. Her label, Warner Music Nashville (WMN) (together with Indie 300 Entertainment out of New York) lauded the single and that accompanying video as groundbreaking.
That's a bit far-fetched, it's a simple video, using a smartphone with app-du-jour Snapchat (et alia) and therefore vertical and not horizontal. How revolutionary to put Social Media in a video? And voila, you have a video with "street cred" appealing to the targeted demographics of a lost youth who's addicted to staring for hours into their electronic gadgets. What's next, a video shot with Going Live on Facebook? That said, it's not to diminish the efforts of video company Green Shoe Studios. They did a superb job, for what they were asked to do by WMN and the management company.
The best part of the video comes at the very end - asking you to slide the button to the right to power the phone (and therefore the video) off. What a relief. I doubt she will be making an impact, even with the major push behind her. The single is expected to impact country radio later this month, but the streaming numbers on YouTube speak for themselves. An audio portion was released seven months ago and has acquired a little bit more than 33,000 streams, about 4,000 more than her now official video in the last four days.
★/★★★★★ (1/5)
Sources: Warner Music Nashville, YouTube, BMI, SongwriterUniverse, redlightmanagement.com, Rolling Stone, People magazine, Spotify,
14 people dead, over 140 injured, over 1750 structures destroyed or inhabitable - this the sad result of the Tennessee wildfires in Sevier County. Country singer Dolly Parton now announced that she will help displaced people with monthly payments and a telethon to help the victims is planed for next Tuesday (12/7). In the meantime two juveniles were arrested by the Tennessee Bureau of Investigation and charged with aggravated arson. They are suspected to be connected to the fires.
Dolly Parton who not only was born and grew up in the area, but the area is also where she has several entertainment businesses and restaurants, the main attraction being Dollywood. As you can see in the cover picture by Knoxville photographer Bruce McCamish the flames came pretty close to the DreamMore Resort, which is part of the Dollywood complex. As you can see on the interactive map from Sevier county (via Weather.com) below, the 4000 people town of Gatlinburg got hit really bad. Fortunately most of downtown was spared and the town will reopen for business this coming Friday. And while a visit and spending money in the region is a good thing, it can't be the only thing.
Dolly believes "that charity begins at home," and that many of the families being affected by the wildfires are "family." So Dolly, with some of her business entities came up with the My People Fund a home-based charity, through her non-profit Dollywood Foundation. 100 percent of the donations will go to the affected families and help is immediate - people who will register to be helped will be given a check on the day of their registration. (All the necessary information to help out can be found at the bottom of the blog.)
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“My home in the Smoky Mountains of Tennessee is some place special. Wildfires have affected many of the people—my people—who live in those beautiful mountains. We want to provide a hand up to those families who have lost everything in the fires. I know it has been a trying time for my people and this assistance will help get them back on their feet.”
Every family that lost their primary residence, as owners or renters, is eligible for $1000 a month support, until they get back on their feet again.
Dolly with a little help from some of her friends, Reba McEntire, Kenny Rogers and Alison Krauss will have a three hour telethon "Smoky Mountains Rise" to benefit the My People Fund on Tuesday, Dec 13 (7pm CST) on US TV station Great American Country. (GAC.) Besides being on TV, the event will also be simulcast through several on-air and digital radio platforms like IHeart Media, Cumulus Media's NASH Nights LIVE and others.
Additionally, other celebrities joining "Smoky Mountains Rise" will be announced in the coming days.
Here are the necessary links and contacts if you would like to help out:
To contribute to the My People Fund, visit dollywoodfoundation.org or send by mail to My People Fund, c/o Dollywood Foundation, 111 Dollywood Lane, Pigeon Forge, TN 37863.
During the telethon, you can call 1-866-CARE MORE to donate to the My People Fund.
You can share this with the following hashtags as well #MyPeopleFund and #someplacespecial.
Source: Webster PR, Bruce McCamish (flickr), Sevier Couny via weather.com (interactive map), gatlinburg.com
I met Holly Dunn in the early 90s, after a concert, where she was opening for Charlie Rich at the legendary Austin Opry House. Standing around, outside the tour bus and being joined by a young Paula Nelson (Willie's daughter) the three of us shot the breeze and exchanged stories.
Even though I knew since March that she was diagnosed with a rare, very malicious form of ovarian cancer, her passing took me rather by surprise. Holly was only 59 years old and spent the last decade or so, in New Mexico, where she painted as an artist and where she passed away on Monday (11/14).
During our conversation over 20 years ago, she told me how she wrote her signature song, which started her career, "Daddy's Hands" for her father, a minister, as a father's day gift. Even though the song "only" reached #7 in the Country Charts in November of 1986, she was nominated for two Grammys (Best Country Song & Best Country Vocal Performance, Female) because of it. An earlier version was recorded by family trio The Whites in 85. In April of '87 she was crowned "Top New Female Vocalist 1986" by the Academy of Country Music and in October of the same year won the Horizon Award by the Country Music Association.
Daddy's hands were soft and kind when I was cryin' Daddy's hands were hard as steel when I'd done wrong Daddy's hands weren't always gentle but I've come to understand There was always love in daddy's hands
Holly Suzette Dunn, born in San Antonio, on August 22nd, 1957 also told me, that their house was always open, with different musicians often coming by for a visit - Sonny James, Roy Orbison, Porter Wagoner - I recall her even telling Paula, that a young Willie used to show up too. But besides all the country music influences, she mentioned James Taylor, Carole King, The Beatles, and Barbara Streisand as influential to her music, and yes music was encouraged. Dunn already had a band during her high school years, called Freedom Folk. According to the "All Music Guide to Country," Freedom Folk was selected to represent Texas at the bicentennial celebration in 1976 at the White House. During her years at Abilene Christian University, she was also part of the USO-touring choir, the Hilltop Singers.
Move to Nashville & MTM years
Still in college, "Out of Sight, Not Out of Mind," a song she had written with her brother, Chris Waters was recorded by Cristy Lane on her "Love Lies" album. After graduating Holly decided to move to Nashville. Besides odd side jobs, she started singing demos and later writing songs for the same publisher, CBS Songs, as Chris. One of her songs, she co-wrote with her brother and Tom Shapiro, "I'm Not Through Loving You Yet" became a Top Ten Hit for Louise Mandrell, others were recorded by Marie Osmond, Sylvia, and lesser-known artists, some from Sweden and Canada. Often singing the demos, the trio wrote, Holly was still hoping for a singing career on her own.
In 1984 she got signed by Tommy West to MTM Records and released her debut "HOLLY DUNN" a year later - her first single (not available on any album) "Playing For Keeps" (Dunn, Waters, Shapiro) with a pop new-wave arrangement, stalled at #62 of the country charts, two other singles "My Heart Holds On" (#64 Hugh Prestwood) and "Two Too Many" (#39 Dunn) didn't leave much of an impact and then "Daddy's Hands" was released and gave her a first Top Ten Hit. In January of '87 a duet with Michael Martin Murphey, "A Face In The Crowd" (Karen Staley, Gary Harrison) from his "AMERICANA" album was released and not only gave her another Top Five hit (#4) but also another Grammy nomination in the duet category, which they both lost to Ronnie Milsap and Kenny Rogers.
Her second album "CORNERSTONE" gave her the Top Ten Singles "Love Someone Like Me" (Radney Foster, Dunn #2), "Only When I Love" (Waters, Shapiro, Dunn #4) and "Strangers Again" (Waters, Dunn #7). Her third and last album for MTM, the self-produced (with Waters & Warren Peterson) "ACROSS THE RIO GRANDE" had the hits "That's What Your Love Does To Me" (Chick Rains, Bill Caswell #5) and "(It's Always Gonna Be) Someday" (Waters, Shapiro, Dunn #11). After that parent company, MTM Enterprises was sold to a British TV conglomerate with the record label part being spun off, acquired, and embedded into RCA.
In 1989 Holly Dunn was added as a regular cast member of the Grand Ole Opry during the Opry's 64th birthday celebration.
Warner Brothers years
Being picked up by Warner Bros, with her old catalog going there too, Holly was able to finally celebrate her two #1 singles “Are You Ever Gonna Love Me” (8/26/89 - Dunn, Shapiro, Waters) and “You Really Had Me Going” (11/17/90 - Dunn, Shapiro, Waters) from "THE BLUE ROSE OF TEXAS" and "HEART FULL OF LOVE" respectively. "BLUE ROSE" also had the Joe Diffie (w/Lonnie Wilson, Wayne Perry) penned "There Goes My Heart Again" which hit the Top Five (#4) and on which Diffie sang background vocals. Dolly Parton did the same on her cover of "Must Of All, Why." The self-penned "Anniversary For Being A Fool" stalled at #63. while the title track of "HEART", a Kostas composition, reached the Top Twenty (#19), It was Holly's last Top Twenty hit.
A duet she recorded with Kenny Rogers "Maybe" (Bill Rice, M. Sharon Rice) from his album "SOMETHING INSIDE SO STRONG" reached #25 in 1990.
With her career stalling, Warner Bros. decided to release "MILESTONES," a Greatest Hits compilation, combining her hits for MTM, with her chart singles for Warner Brothers. Talking about bad timing, the self-written single out of the collection, "Maybe I Mean Yes" came out right at the wrong time, when the subject of date rape and the outcry "No Means No" were gaining traction due to some prominent lawsuits. With its refrain stating "When I say no, I mean maybe, or maybe I mean yes" it caused controversy. The label and Holly had to pull the single of the radio market after it reached #48. Another single from the album, written by brother Chris "No One Takes The Train Anymore" failed to chart.
The last album for Warner Brothers, "GETTING IT DUNN" was released in June of 1992. Instead of co-producing, brother Chris Waters was replaced by guitarist/producer Paul Worley (later of Martina McBride, Dixie Chicks & Lady Antebellum fame). But none of the three singles "No Love Have I" (Mel Tillis #67), "As Long As You Belong To Me" (Dunn, Waters, Shapiro #68), and "Golden Years" (Sam Hogin, Gretchen Peters #51) cracked the Top 40 anymore, and Holly Dunn was let go.
In 1995 Dunn signed with River North Records and released "LIFE AND LOVE AND ALL THE STAGES" which yielded her last single cracking the charts "I Am Who I Am" (Dunn, Waters, Shapiro #56). "LEAVE ON BRIDGE STANDING" followed two years later and by that time Dunn had joined WWWW (W4 Country) in Detroit as morning disk-jockey co-host. 2001/02 she worked for The Nashville Network (TNN) sitting in for Bill Anderson on "Opry Backstage." In 2003 Dunn released a gospel album "FULL CIRCLE" for OMS and her own company Holly Dunn Enterprises. She also announced her retirement from the music business
“I left the business because it was clear that radio had moved on and wasn’t interested in anything new from me. Without radio’s support, it just gets harder and harder to keep the wheels turning in a music career. Hit records are the engine that drives the train,”
Dunn explained to Christian magazine "Hallels" in June. Her move to Central Texas and later to Albuquerque also got her expunged from the cast of the Grand Ole Opry, a move criticized by many fans. In an interview with "the 9513" blog, Holly Dunn was quoted: "I knew they’d been adding people since I left. But it hurt. Because I loved the Opry. And I still love the Opry."
Living in New Mexico, she started to paint, inspired by her surroundings either the Southwest or her home state, Texas (as this ruby chested hummingbird visiting the state flower, the bluebonnet.) They were offered through the Pena-Dunn Gallery in Santa Fe.
According to the New York Times, she is survived by her wife, Melissa Taylor, and her three brothers, Chris, Jerry, and Rodney. Funeral services were held on Saturday (11/19) and Holly is to be buried at the Salado Cemetery in Central Texas.
Sources: Image (Publicity Shot), Painting - her Facebook Art Page, HollyDunn.com (unfortunately her facebook page and her website were immediately eliminated after her death), Hallels, Billboard, BMI, 9513, The New York Times, lpdiscography.com, opry.com,
The 50th CMA Awards are over, the Italian-made crystal obelisks are distributed and the hangover is real. Not so much on my part but probably on broadcaster ABC and host CMA - even though offering a stur-studded annual celebration of "Country Music" - the ratings were a disaster. There were more than 3 times as many viewers watching the all deciding game 7 of the Baseball World Series between the Cubs and Indians, than people tuning in to the Kumbaya Fest out of the Bridgestone Arena in Nashville.
So let's see how I did in my preview - published here in my blog Nothing New On The Western Front, when the nominations came out. Besides the winners below, Dolly Parton was awarded the Willie Nelson Lifetime Achievement Award and Kenny Chesney with the Pinnacle Award.
My predications who is winning (*), whom I want to win (amu) and who actually won.
Entertainer of the Year Garth Brooks
Luke Bryan
Chris Stapleton (amu)
Carrie Underwood (*)
Keith Urban
I gotta have to think about that for a little while, Garth Brooks was the reason I left the CMA as a voting member, because I thought, that the trend where the music was going, was into BS-land (and I don't mean the Swiss state with that name). In retrospect, well at least compared to today's output over the last half decade, Garth was country. Writer and owner "Trigger" at "Saving Country Music" already wrote a wonderful piece about that - Time has been kind to the music of Garth Brooks,
Male Vocalist of the Year
Dierks Bentley
Eric Church (amu)
Tim McGraw Chris Stapleton (*)
Keith Urban
Female Vocalist of the Year
Kelsea Ballerini
Miranda Lambert (*)
Maren Morris
Kacey Musgraves (amu) Carrie Underwood
Album of the Year
Black, Dierks Bentley
Hero, Maren Morris Mr. Misunderstood, Eric Church (amu)
Ripcord, Keith Urban
Storyteller, Carrie Underwood (*)
Single of the Year "Die A Happy Man", Thomas Rhett
"Humble and Kind", Tim McGraw
"My Church", Maren Morris (*/amu)
"Nobody To Blame", Chris Stapleton
"Record Year", Eric Church
Song of the Year - this goes to the songwriters
"Burning House", Cam - Cam, Jeff Bhasker, Tyler Johnson (amu)
"Die A Happy Man", Thomas Rhett - Thomas Rhett, Sean Douglas, Joe Spargur "Humble and Kind", Tim McGraw - Lori McKenna (*)
"My Church", Maren Morris - Maren Morris, busbee
"Record Year", Eric Church - Eric Church, Jeff Hyde
After "Girl Crush" last year, it's the second year in a row that Lori McKenna wins in the "Song of the Year" category.
Vocal Group of the Year
Lady Antebellum Little Big Town (*)
Old Dominion
Rascal Flatts
Zac Brown Band
whatever, besides Zac Brown Band mediocrity at best
Vocal Duo of the Year Brothers Osborne
Dan + Shay
Florida Georgia Line
Joey + Rory (*/amu)
Maddie & Tae
Biggest surprise of the night was definitely the win by the Osborne Brothers, who annihilated not only the two douche-bags called Florida Georgia Line but I hope Bro-Country in general.
Not trying to diminish the Osborne Brothers' success, but I personally still think that Joey + Rory posthumously should have gotten an award, as they were never honored by the CMA. Surviving husband Rory attented yesterday's festivities with the parents and sisters of his late wife.
New Artist of the Year
Kelsea Ballerini
Brothers Osborne (amu) Maren Morris (*)
Old Dominion
Cole Swindell
Musical Event of the Year "Different For Girls", Dierks Bentley/Elle King
"Home Alone Tonight", Luke Bryan/Karen Fairchild
"The Fighter", Keith Urban/Carrie Underwood (*)
"Think of You", Chris Young/Cassadee Pope
"You Are My Sunshine", Chris Stapleton/Morgane Stapleton (amu)
Music Video of the Year
"Burning House", Cam "Fire Away", Chris Stapleton
"Humble and Kind", Tim McGraw
"Record Year", Eric Church
"Somewhere On A Beach", Dierks Bentley (*)
Musician of the Year
Jerry Douglas (*)
Paul Franklin Dan Huff
Brett Mason
Derek Wells
So in my predictions I scored (4/12), in whom I wanted to win (1/9) as I didn't care in some categories to even put my vote in for a winner. The show itself was more country oriented than previous shows, which is very laudable. The Country Music Association (CMA) really tried hard to celebrate their 50th Anniversary Gala with a broad spectrum of old and new.
Actually I think there was too much old in the show - now don't get me wrong, all of these songs performed, are part of my all time favorites. But for some reason the whole thing was like a celebration of times gone bye - a documentation of how great country music was, instead of is. A commercial for the ultimate "Time" country collection you need to have. Somebody in my twitter feed actually said something like, imagine you could hear stuff like this on the radio. And no, you can't, only if you turn into an oldies or classic country music station. It would have been better if young artists would have had a chance to come out and present their take on the more traditional way with their own, new songs. And yes these artists are ready, waiting in the hallway to get on stage and show us how it can be done, obviously there is a market out there. I wanna see and hear Brandy Clark, Margo Price, Shelley Skidmore, William Michael Morgan, Jon Pardi, Jason James, Mo Pitney and everybody else that wants to take up real songs with real lyrics and real instrumentation. A step back doesn't mean we can't move forward.
There were some memorable performances and if you missed them, because of the game or the babysitter screwing with your TiVo, you can actually watch the whole show on abc.com by telling them who your TV provider is. For non-regular TV consumers, the show can be watched in it's entirety in a week's time. Already watchable are some clips, including the most talked about, Beyonce performing with the Dixie Chicks.
I’m excited to kick off the #ForeverCountryCovers series with my version of Randy Travis' 1987 CMA Song of the Year, “Forever and Ever, Amen" in celebration of the #CMAAwards50.
With these words, Jon Pardi commented on the above picture on his website, that he recorded a cover of Randy Travis' hit single "Forever And Ever Amen," which he recorded in celebration of “The 50th Annual CMA Awards." This year's awards will be given away on November 2, 2016. (For more about this year's nominees also read my blog "Nothing New On The Western Front."
Celebrating 50 years of awards, the CMA came up with the moniker "Artists Of Then, Now & Forever" and started with a big bang - the collaborative recording with over 30 artists "Forever Country," which is a sound and video montage of three hits "Country Roads, Take Me Home," "I Will Always Love You" and "On The Road Again" already leapt to Number One on Billboard's Hot Country Songs chart. Not only did the compilation recording doing surprisingly well on the radio, even though some radio PDs were kinda afraid to use "old" artists, but the numbers speak for itself: the single sold over 93'000 copies in its first week, coupled with millions of streaming and video hits, the song catapulted itself to the top. Extra bonus - the profits of the song all go to music education programs the CMA is sponsoring.
Besides the collaborative effort, the CMA for its anniversary also created the "Forever Country Covers" series, where artists cover songs which either got nominated several times or were winning several awards. Jon Pardi led the pack with his rendition of the Don Schlitz and Paul Overstreet penned hit "Forever and Ever, Amen" which was the Single and Song of the Year of 1987 for Randy Travis.
Pardi can't go as low as Travis' baritone (remember "It's Just a Matter of Time"), but he does an excellent job. I really like, how the whole arrangement is kept simple with just an acoustic and a resophonic guitar. Too bad there is no info to be found on who the excellent Dobro player and guitarist/harmony singers on this take are. Travis was all excited about it and tweeted congratulations to Jon Pardi.
Randy Travis who is still recovering from a stroke he suffered several years ago, and who made a non-singing cameo in the above mentioned CMA video "Forever Country" will be inducted into the Country Music Hall of Fame this year, along with Charlie Daniels and producer, singer/songwriter and Monument record label founder Fred Foster.
In Jon Pardi news we can also add that his recent number one single, "Head Over Boots" was recently RIAA certified Platinum. His new single "Dirt On My Boots" was the most added single on country radio and got him with an audience impression of roughly 2 million already into the Top Fifty.
Tune in to “The 50th Annual CMA Awards,” LIVE Wednesday Nov 2 8|7c on ABC
Sources: JonPardi.com, YouTube, Billboard.com, Twitter
