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Commentary

The 51st Annual ACM Award Nominees, With Commentary

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This morning, (2/1), the nominees for the 2016 Academy of Country Music (ACM) Awards were revealed on CBS the Morning and ETOnline.com. The ACM Awards will take place on April 3rd at the MGM Grand Ballroom in Las Vegas and air on CBS. For the first time in several years, Blake Shelton will not be one of the hosts–this year it will be Blake’s former co-host, Luke Bryan, along with Dierks Bentley. This seems an unlikely pair to say the least, but we’ll see on April 3rd. Here are the nominees, along with predictions, preferences, and some personal commentary.

Video of the Year

“Biscuits”–Kacey Musgraves, directed by Mark Klausfeld, produced by Nicole Acacio
“Burning House”–Cam, directed by Trey Fanjoy, produced by Trent Hardville
“Girl Crush”–Little Big Town, directed by Karla Welch and Matthew Welch, produced by Amanda Prunesti
“Mr. Misunderstood”–Eric Church, directed by Reid Long and John Peets, produced by Megan Smith
“Riser”–Dierks Bentley, directed by Wes Edwards, produced by Jennifer Rothlein
Prediction: “Burning House” or “Riser”
Preference: none

New Male Vocalist of the Year

Good to see the ACM’s breaking down this category again, as for the past several years it has been simply “New Artist.”

Brett Eldredge [no]
Chris Janson [no]
Thomas Rhett [really?]
Chase Rice [hell no]
Chris Stapleton [thank God]
Prediction: Chris Stapleton
Preference: Chris Stapleton…I would prefer Chris Stapleton anyway, but out of these, do I really have a choice?
Note: When is Thomas Rhett going to stop getting nominated for New Artist awards?

New Female Vocalist of the Year

Kelsea Ballerini [no]
Cam [yes!]
Mickey Guyton [good]
RaeLynn [oh God no]
Prediction: Cam or Kelsea Ballerini
Preference: Cam
Note: Only four artists here…what happened to including more women? This is the only category to be missing an artist….and if we can nominate Thomas Rhett, surely we can nominate Ashley Monroe or Jana Kramer. Many more if they knew how to think outside the box…Jamie Lin Wilson anyone? Having said that, I’m impressed with the inclusion of Mickey Guyton, it is well deserved.

New Vocal Duo or Group of the Year

A Thousand Horses [ok]
Brothers Osborne [good]
Maddie & Tae [yes]
Old Dominion [please]
Parmalee [no]
Prediction: Maddie & Tae
Preference: Maddie & Tae
Note: I am sorry that Maddie & Tae and Brothers Osborne must be in the same category with the likes of Old Dominion. Maddie & Tae really deserve this award and should win it…they deserve to be the Duo of the Year, but this would involve de-throning Florida Georgia Line.

Vocal Event of the Year

“Hang Over Tonight”–Gary Allan featuring Chris Stapleton, produced by
Gary Allan and Greg Droman, MCA Nashville
“Home Alone Tonight”–Luke Bryan featuring Karen Fairchild, produced by Jeff Stevens and Jody Stephens, Capitol Nashville
“Raise ’em Up”–Keith Urban featuring Eric Church, produced by Nathan Chapman and Keith Urban, Hit Red Records/Capitol Nashville
“Smokin’ and Drinkin'”–Miranda Lambert featuring Little Big Town, produced by Frank Liddell, Chuck Anilay, and Glenn Worf, RCA Nashville
“Wild Child”–Kenny Chesney with Grace Potter, produced by Buddy Cannon and Kenny Chesney, Blue Chair Records/Columbia Nashville
Prediction: “Raise ’em Up”
Preference: “Wild Child” out of these, but there are better nominees by far.
Note: Why is “Hang Over Tonight” being nominated for anything? This was not successful commercially or critically, has stalled Gary Allan’s entire career, and cost him millions of fans…but let’s nominate it for an ACM, makes perfect sense. “Home Alone Tonight” is trash, “Smokin’ and Drinkin'” is just there, and the others are decent. Terrible list altogether. The CMA nominated Willie and Merle’s collaboration album at least.

Single Record of the Year

Interestingly, or stupidly, the Song of the Year and Songwriter of the Year nominees are not out yet and should be announced “in the coming weeks”…Song of the Year has traditionally been about critical acclaim, and Single Record was for commercial success, but lately they have become somewhat interchangeable.

“Burning House”–Cam, produced by Jeff Bhasker, Tyler Johnson, and Cameron Ochs, Arista Nashville/RCA Records/Kravenworks [excellent]
“Buy me a Boat”–Chris Janson, produced by Brent Anderson, Chris DuBois, and Chris Janson, Warner Music Nashville [no]
“Die a Happy Man”–Thomas Rhett, produced by Dan Huff and Jesse Frasur, The Vallory Music Co. [to be expected, but hell no]
“Girl Crush”–Little Big Town, produced by Jay Joyce, Capitol Records Nashville [yes]
“I’m Comin’ Over”–Chris Young, produced by Corey Crowder and Chris Young, RCA Nashville [decent]
Prediction: No idea…this could go to Cam, Thomas Rhett, or Little Big Town, if we’re talking commercial success. All three would deserve it based on this.
Preference: “Burning House” or “Girl Crush”
Note: The only thing I’m certain of here is that Chris Young has absolutely no chance.

Album of the Year

I’m Comin’ Over–Chris Young, produced by Corey Crowder and Chris Young, RCA Records [lol]
Montevallo–Sam Hunt, produced by Zach Crowell and Shane McAnally, MCA Nashville [never]
Mr. Misunderstood–Eric Church, produced by Jay Joyce, EMI Records Nashville [yes]
Tangled up–Thomas Rhett, produced by Dan Huff, Jesse Frasur, and Chris Destafano, The Vallory Music Co. [absolutely horrifying]
Traveller–Chris Stapleton, produced by Dave Cobb and Chris Stapleton, Mercury Records [yes]
Prediction: Traveller
Preference: Traveller
Note: Glad to see Eric Church with a nomination here, and disappointed in the lack of women. Thomas Rhett’s Tangled Up is even worse than Montevallo which is saying something…some good nominees, but a bad category overall. At least Stapleton is now a front runner, after his upsets at the CMA’s. But Kacey Musgraves should definitely have a nomination here. The fact that Chris Young’s boring effort is here is completely laughable.

Vocal Duo of the Year

Brothers Osborne [good]
Dan + Shay [no]
Maddie & Tae [yes]
Joey + Rory [good]
Florida Georgia Line[no]
Prediction: Maddie & Tae…going out on a limb.
Preference: Maddie & Tae
Note: I don’t think Florida Georgia Line will do it again…they’ve slipped in popularity. Also, never underestimate the power of the sympathy vote for Joey + Rory, cancer is a powerful thing. I’m glad to see Joey + Rory with a nomination too, but they shouldn’t get the win…that right belongs to Maddie & Tae, and enough splitting of the votes may happen here that we will see them take it.

Vocal Group of the Year

Wow, what an awful category.

Eli Young Band [no]
Little Big Town [yes]
Old Dominion [for the love of God]
Rascal Flatts [no]
Zac Brown Band [not after this year….”Beautiful Drug” is not worth any recognition, even if the group is]
Prediction: Little Big Town…they’ve become the Miranda Lambert of the Vocal Group category.
Preference: Little Big Town
Note: Can we give it to Turnpike Troubadours?

Male Vocalist of the Year

Jason Aldean [no]
Dierks Bentley [good]
Eric Church [yes]
Brett Eldredge [lol]
Chris Stapleton [yes]
Prediction: Eric Church or Chris Stapleton
Preference: Chris Stapleton, but I’d be happy with Eric.
Note: No Blake Shelton…interestingly, Blake Shelton was shut out entirely from this extravaganza.

Female Vocalist of the Year

Kelsea Ballerini [no]
Jana Kramer [good]
Miranda Lambert [duh]
Kacey Musgraves [good]
Carrie Underwood [good]
Prediction: Miranda Lambert–like with the CMA’s, I’m not an idiot.
Preference: Carrie Underwood
Note: Glad to see Jana Kramer with a nomination…if we could have replaced Kelsea with Ashley Monroe, this would have been a pretty fair list.

Entertainer of the Year

Jason Aldean [no]
Garth Brooks [good]
Luke Bryan [duh but no]
Eric Church [good]
Miranda Lambert [good]
Prediction: Luke Bryan, with an outside chance of Garth Brooks
Preference: Garth Brooks

Playlists

Country Exclusive’s Essential Songs of 2015

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I thought long and hard about this, and since Country Exclusive did not come into existence until halfway through the year, and therefore did not do as many reviews as other sites, I am not going to name a 2015 Song of the Year. There are surely songs that I did not review which would make this list if I had reviewed them; in fact, a few on this list were not covered here. As for the album list, I will have nominees and an Album of the Year, as I did cover most of the essential albums of 2015. But here is a list of songs from 2015 that I feel everyone should definitely check out! If you have overlooked any of them, please correct this now. They are listed alphabetically, and not by any sort of rank.

Essential Songs of 2015

1. “After the Storm Blows Through” by Maddie & Tae
2. “Ashes” by Lindi Ortega
3. “Be my Baby” by Whitney Rose and Raul Malo
4. “The Bird Hunters” by Turnpike Troubadours
5. “Bienville” by Jason Boland & the Stragglers
6. “The Blade” by Ashley Monroe
7. “Bound to Roam” by The Black Lillies
8. “Bramble Rose” by Don Henley, featuring Mick Jagger and Miranda Lambert
9. “Burning House” by Cam
10. “Cost of Living” by Don Henley, featuring Merle Haggard
11. “David” by Cody Jinks
12. “Dixie” by Ashley Monroe
13. “El Dorado” by Randy Rogers & Wade Bowen
14. “Fall out of Love” by Turnpike Troubadours
15. “Ghost Town” by Sam Outlaw
16. “Good ‘ol Boys’ Club” by Kacey Musgraves
17. “Half Moon” by Lindi Ortega
18. “Has Anybody Ever Told You” by Ashley Monroe
19. “Heartland Bypass” by Jason Boland & the Stragglers
20. “House on a Hill” by Kasey Chambers
21. “If the Devil Don’t Want Me” by Ashley Monroe
22. “Just Some Things” by Jamie Lin Wilson, featuring Wade Bowen
23. “Knives of New Orleans” by Eric Church
24. “Long Drive Home” by Turnpike Troubadours
25. “Need for Wanting” by Courtney Patton
26. “Oh Grace” by Kasey Chambers
27. “Pageant Material” by Kacey Musgraves
28. “Record Year” by Eric Church
29. “Roots and Wings” by Miranda Lambert
30. “Shut up and Fish” by Maddie & Tae
31. “So This is Life” by Courtney Patton
32. “Somebody to Love” by Kacey Musgraves
33. “Something More than Free” by Jason Isbell
34. “Speed Trap Town” by Jason Isbell
35. “Standards” by Randy Rogers & Wade Bowen
36. “Suffer in Peace” by Tyler Farr
37. “Traveller” by Chris Stapleton
38. “Too Late to Save Me” by Kasey Chambers
39. “War of Art” by Courtney Patton
40. “When I stop Dreaming” by Don Henley, featuring Dolly Parton

There are many more, but I had to stop the list at some point!

Commentary

“Who the Hell is Chris Stapleton?”: Answering the Question in the Minds of Millions of Sam Hunt Fans

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Who is Chris Stapleton? This is a question on millions of Google searches and in the minds of Sam Hunt fans everywhere since Wednesday night (November 4th), when their beloved Sam Hunt was shut out at the CMA’s by this guy they’d never heard of. It was a huge upset when Stapleton beat out Hunt, Thomas Rhett, Kelsea Ballerini, and Maddie & Tae for New Artist of the Year. But then he went on to win Album of the Year for Traveller, so the Sam Hunt fans were forced to admit this Chris Stapleton might be a name worth knowing. Later, he even won the Male Vocalist of the Year award, breaking Blake Shelton’s five-year winning streak and causing Luke Bryan’s Entertainer of the Year win to look at best like an afterthought and at worst completely comical. Eric Church, predicted to be a front runner for the top awards, was shut out except for a joint win with Keith Urban for Event of the Year for “Raise ’em Up.” Little Big Town’s three wins looked unimportant compared to Chris Stapleton’s sweep. Both Luke Bryan and Miranda Lambert thanked Stapleton in their acceptance speeches, and Luke noted that seeing Stapleton “have this night is so uplifting.” To add to all of this, Chris Stapleton and Justin Timberlake took the stage for what was undoubtedly the best performance of the evening, singing “Tennessee Whiskey” and “Drink You Away.”

So naturally, the million-dollar question among the masses is, “Who the bloody hell is Chris Stapleton?”

In an effort to answer this for themselves, the country community has launched Chris’s only album, Traveller, straight to the top of the iTunes chart. He has never had a hit crack the top 40 on Billboard Country Airplay, but that could all soon change. Chris Stapleton will now be a household name. Traditionalists everywhere are dancing in the streets, some even calling Chris Stapleton our “country music savior”–rest assured that Country Exclusive does not hold this view–but this will certainly change Chris Stapleton’s life forever.

So aside from the 2015 CMA’s making Chris Stapleton an overnight superstar, what has this actually done for our beloved country music?

The sweep of Chris Stapleton has finally begun to put mainstream artists and independent artists on equal footing, in terms of recognition. Stapleton is widely respected in the industry for writing others’ hits, both traditional and otherwise–in fact, on many traditionalist blogs, Chris Stapleton is often ridiculed for having taken part in such pieces of shit as Thomas Rhett’s “South Side.” Although Traveller is his debut album, Chris Stapleton is a name that has been around Nashville for many years, and the news that he was making an album was welcome and long overdue to many dedicated fans. The CMA took notice of all this. It didn’t matter that Stapleton has had little to no commercial success. If there was ever a time when the comments of Gary Overton–“If you’re not on country radio, you don’t exist”–rang false, it was Wednesday night. This is a statement that radio cannot ignore. Country radio is no longer the only way to gain attention and recognition–in fact, radio-supported Sam Hunt, Thomas Rhett, and Kelsea Ballerini left the CMA’s empty-handed. It may be that country radio will take notice of this and start to play artists like Chris Stapleton and Kacey Musgraves–album sales and declining radio ratings in 2015 have suggested country radio’s loss of relevancy, and this was the ultimate indicator. Country music may look back on this day in its history and find that the victories of Chris Stapleton, traditional country, and music of substance marked the beginning of the returning of country to its roots. Chris Stapleton is no “savior”–country cannot be saved overnight. His music blends country, blues, and soul, and so many have been quick to complain that he is not “strictly” country, so we should not be so excited about this victory. But we are music fans first, and Chris Stapleton has brought a huge victory, both for country music and for music in general, and for this we should all be forever grateful.

https://www.youtube.com/watch?v=ADuUQT_fPCw

Reviews

Album Review: Carrie Underwood–Storyteller

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Country Rating: 5/10
Overall Rating: 7/10

Carrie Underwood’s fifth album, Storyteller, has been the subject of heated debate since its first single, “Smoke Break,” was released in August.

Single Review: Carrie Underwood’s “Smoke Break”

Carrie had promised that her next album would be more rock-influenced, have more twang, and respect her country roots. “Smoke Break” was certainly more rock-influenced, but it had so much twang that I felt like Carrie Underwood didn’t sound like herself–instead she sounded like a lesser version of Miranda Lambert. So it was with mixed feelings that I came into Storyteller, and after several listens, I still have many mixed feelings.

The album opens with “Renegade Runaway,” a pop/country/rock song about a woman who is a “Tumbleweed blowin’ in the wind come sundown, call a girl like that renegade runaway.” This immediately reminds me of a Miranda song, but here this is not necessarily a bad thing, as Carrie Underwood does not emphasize her twang and still sounds like Carrie. However, it’s not more country, as Underwood promised–and if you were looking for more of a country sound, I suggest you avoid this album because it does not get better in this regard. However, if you enjoy good songwriting and “storytelling,” Carrie does deliver on this promise, and “Dirty Laundry” does a good job of telling the story of a woman who catches her man cheating by finding his dirty clothes. It’s a nice double meaning, and I’d be able to enjoy this song more without the pop production. “Church Bells” is a pop country song about Jenny, a woman who marries a man for his money, only to find out he is abusive. Carrie sings, “All his money could never save Jenny from the devil living in his eyes.” Jenny slips something in his whiskey and “he hit a woman for the very last time.” This is a Miranda Lambert-esque song as well, but despite this and some overproduction, the story makes it one of the better songs on the album.

“Heartbeat” is a straight pop song that Carrie should have left off the album–it’s a female bro country song, albeit more romantic, but we’ve already heard 957 songs about people hooking up by rivers, and so this is just unnecessary. Also, if you didn’t hate this, prepare to–Sam Hunt is the backup singer. Next is “Smoke Break” which I already shared my thoughts on in my review, and in the context of the album, it actually bothers me more. The story told here, of characters who drink and smoke (or would like to but don’t actually do it) to cope with the pressures of their daily lives, doesn’t compare to the other stories on the album, and her Miranda Lambert impression is more noticeable in the context of an otherwise Carrie Underwood-like sound on this album. “Choctaw County Affair” is one of the best songs on the album; this is a country rock song about a small town murder. Carrie sings from the view of one of the suspects. It’s great songwriting, and the production doesn’t overshadow it. I recommend listening to this if you only listen to one song on Storyteller, and I will post it here.

“Like I’ll Never Love You Again” is another of the better songs–a pop country love song in which Underwood gives us a rare subdued moment on this album. The sincerity in this song makes it even better. “Chaser” and “Relapse” could have been left off the album, as neither of them add a thing to it. The first is a pop rock song basically about telling a man to go ahead and “chase” the other woman. It doesn’t work as a pop song or a country song. “Relapse” does have a more pop country sound, but it’s just a boring song. It tells the story of a woman having “relapses” with an ex–that’s all I can say, as this is all there really is to it. “Clock Don’t Stop” is another straight pop song, complete with a clock ticking. This is a song explaining that “the clock don’t stop ticking away”–I wouldn’t blame anyone for hating this song, but I actually don’t mind it as a pop song. At least it chooses a genre, and this certainly helps it as a song, even if it does nothing for Storyteller as a whole.

“The Girl You Think I Am” explores the relationship between a father and daughter. The daughter just wants to be the girl that her dad sees–the girl in church who was “eight years old wearing angel wings.” It’s a heartfelt moment with stripped-back production that I also recommend you listen to. “Mexico”–now that sounds like a bright, happy beach song. Not from Carrie Underwood–it’s a song about running from the law with “blue lights on the horizon, dust clouds filling the sky.” This is a mix of country, pop, and rock that actually works–another Miranda-esque song that Carrie doesn’t overdo with twang. The album closes with “What I Never Knew I Always Wanted,” a personal song for Underwood about her marriage and new son. She says she never thought she would be this type, but now she has “what I never knew I always wanted.” Despite the fact that this song is a pop song, it is one of the better ones because it shows some of Carrie Underwood’s heart.

Storyteller came with many expectations. It was said to be more twangy and contain more stories. On this front, Carrie delivered–the songwriting here is actually really great, with the exception of a few songs. Carrie Underwood had a hand in writing many of these songs, a fact that should certainly be noted. If you prefer great songwriting, you’ll really enjoy this album. On the other hand, Carrie Underwood promised this album would sound more country–it’s actually an album of pop and rock and country mixed together to create a unique sound. If you place emphasis on a country sound, you will probably find a lot to hate with this album. I personally find more to enjoy than to criticize, but it’s an album you must hear for yourself.

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Reviews

Album Review: Don Henley–Cass County

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Rating: 9/10

Since the moment Don Henley announced that he was making a country album, much of the country music community has been wondering if, and even assuming that, this album would be another country album by a rocker seeking some cash and attention–Steven Tyler anyone? I never wondered about this; Don Henley has no reason to make a country album other than genuinely wanting to make a country album. And now that Cass County has arrived, it’s proven that this isn’t just another rocker looking to exploit the country format, this is a true country album by an artist with obvious love and respect for the genre’s roots and tradition. In short, Don Henley lived up to my expectations with this record, and if you had reservations, I’m here to tell you you needn’t have worried.

Let me say I am reviewing the deluxe version, which is important because some of the songs are not in the same order on the main version. I will state which songs are not on Cass County, but it’s important to know that the ones that are might not be in the same place on the album.

The album opens with “Bramble Rose,” and right away, you can tell this is traditional country, with steel guitar making a grand appearance on the opening beat. This is about a woman whose love has “grown as sharp as a bramble rose.” It’s a nice opener–also, it features Mick Jagger and Miranda Lambert, making perhaps the most unlikely musical threesome I have ever heard. I come away from it more impressed by Miranda Lambert’s vocals than I have ever been–and this from one of the biggest Miranda Lambert fans you’ll ever meet–and wondering what Mick Jagger would sound like in country. Don Henley has several duets on this album, and this is something common to all; all the singers sound their best. It’s like Don brings out something in them that they don’t try to bring out themselves, like he believes in them more than they do. Speaking of duets, the album’s impressive lineup continues with “The Cost of Living,” a duet with none other than Merle Haggard–yes, the guy that just critiqued all modern country, so there’s an endorsement for this album in his name alone. The song itself is about living with the hand you are dealt and not letting life’s troubles get you down; “It’s the cost of living, and everyone pays.” I now want a Don Henley and Merle Haggard duets album, as this sounded better vocally than anything on the already great
Django and Jimmie.

“No, Thank You,” is a fun little country rock song saying “no, thank you” to, well, pretty much everything that is “too good to be true” because he’s “been there, done that.” “Waiting Tables” displays excellent country storytelling, as we learn about the life of a 23-year-old single mom who works as a waitress and hopes for better days. “Take a Picture of This” tells another great story, this time of a married couple who captured their life in pictures, but now they are getting divorced after many years together. “Too Far Gone,” only featured on the deluxe version, is a traditional country song rife with piano and steel. It’s about a man who knows his woman loves someone else, but he is “too far gone” to accept this. Don Henley really captures the emotion in this song and makes it one of the better tracks on a great album.

“That Old Flame,” the first song released from the album, has more of a country rock feel and features the always remarkable Martina McBride. The two sing about reconnecting with an old flame and wondering if they miss each other or simply their youth. “There is danger in the embers, you have only yourself to blame, if you get burned and try to rekindle that old flame”–this is just good songwriting, and this song is simply catchy. “The Brand New Tenessee Waltz,” only on this version, goes back to traditional country and features some of the best instrumentation on the album, including a nice fiddle appearance. “Words Can Break Your Heart” is next, a song about just that, a relationship being torn apart by harsh words. I especially love the line, “It only takes a breath or two to tear your world apart.” The cover of “When I Stop Dreaming,” featuring Dolly Parton, is one of the best songs of the whole bunch and one that I will post here. Dolly Parton sounds better than she has in years, and I’m pretty sure she hasn’t hit that high note in a long while. If anyone had any doubts about this album being real country, this song should shatter them in about 2.6 seconds.

“Praying For Rain” is next, and here is where Don Henley’s vocals shine most. I have talked about the other singers, but it’s important to know that Henley himself put a lot of effort into this, and I hear it most in this song–this is where Don Henley takes Jason Aldean’s “Amarillo Sky” and shows Aldean how to sing it correctly. The next two tracks are only found on this version. The first is a simple little song called “Too Much Pride,” about the dangers of this, and the next is a nice cover of “She Sang Hymns out of Tune,” which is probably the only song I could do without, and that’s only because I am not a fan of the song; Henley certainly does it well, though. “Train in the Distance” sees the narrator looking back on his youth and reflecting on his dreams. It’s one I can’t really explain, and you need to hear it to really appreciate it. “A Younger Man” is one of my favorites; here, the narrator is singing to a woman who is in love with him, but he tells her “You’re looking for a younger man, not me.” Apparently, she’s an “angel from the future,” while he is “an old devil from the past.” This is really a standout on an already great album. The album concludes with “Where I Am Now,” a great rocking track after all the seriousness of the last two songs. It’s an excellent way to close this album–and both versions close with it, so obviously Don Henley agrees.

okay, Cass County is a very good album, and all of you who thought Don Henley came to country for the wrong reasons should be pleasantly surprised. I highly recommend this album for traditional and contemporary fans alike–the majority is more traditional, but there are nice country rock tracks too. In fact, I’ll post one of each. Cass County is definitely worth checking out!

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