The Endless Music Odyssey, Vol. 3 — Freddie Gibbs, Eric Church, Khruangbin & More!

Hey y’all! There are several albums I’ve been wanting to talk about since taking my break, so no fancy introduction is needed. Let’s talk about some albums….

Freddie Gibbs & The AlchemistAlfredo

Freddie Gibbs and The Alchemist both solidify themselves as two of the most consistent artists in hip-hop with Alfredo. Gibbs’ rapping and flow are flawless while The Alchemist’s beats are smooth and his sampling is completely on point throughout. Opener “1985” may be the best opening song to an album I’ve heard in 2020, as the blaring guitar and Gibbs’ relentless attack approach to the lyrics makes me want to hit play over and over again. The lyricism is what you come to expect from Gibbs, which is not a knock at all, as he raps about cocaine, the dark sides of the street and mixes in his trademark dark humor. He also has more social commentary, as on “Scottie Beam” he ominously raps his execution may be televised, highlighting the systemic racism in the country. All the features on this album fit well, especially Rick Ross and Benny The Butcher (I definitely want to hear Gibbs and Butcher together again). This is a pretty great project and for many artists this would be amongst their best, but Gibbs sets the bar pretty damn high with previous projects like Piñata and Bandana. So I guess you could call this 9/10 album slightly down for Gibbs as hilarious as this is to type. But seriously don’t sleep on this album, as it’s one of the best you’ll hear out of hip hop in 2020. Light 9/10

Run The JewelsRTJ4

Unfortunately this album just flat out bored me and I just lose more interest in it as I delve deeper into it. It certainly has nothing to do with the messages, as they’re timely, important and should be heard. But every other aspect of this project feels like I’ve heard it before from the duo and it was better. While I rated Run the Jewels 3 quite highly, admittedly it didn’t hold up as well as time has passed. I thought it was due to the runtime. But now after listening to RTJ4, the issue is clearer. The delivery, approach and style of the lyrics have simply waned for Killer Mike and El-P. On Run the Jewels 3 they covered over a lot of this because it wasn’t as prevalent like it is on this album and quite frankly the beats were much more interesting and varied on Run the Jewels 3 (there’s not a single beat on this album that comes as close to being as interesting or cool as “Panther Like a Panther”). 

Not to mention the idea well feels empty on this album. Nothing feels new, it all feels the same and maybe that’s the point on how injustice in this country never changes, which is the reoccurring message of this album. But I feel like this album is all about great messages and the songs themselves are an afterthought. As I’ve continually said, great messages won’t be heard if the songs themselves aren’t interesting or good. Run the Jewels 3 managed to deliver timely messages behind great music. And this album seems to forget the latter. That’s largely the conclusion I come away from with this album: the music just isn’t as interesting like the previous three records. Light 5/10

Diplo/Thomas WesleyChapter 1: Snake Oil

I’ve talked about before how electronic and country will eventually be fused together more and how it will become a more prevalent sub genre (for better or worse). So I was actually quite excited to hear that famous electronic producer Diplo would be trying his hand at a country album. The ultimate result? Very hit and miss for me. What works: “Heartless” with Morgan Wallen is surprisingly something I’ve come to enjoy. The delivery of Wallen gives the song an infectious urgency and the drum machines are actually utilized in a way that makes the song enjoyably catchy (so many from the pop genre completely bastardize drum machines and make them a torturous ear worm). The unlikely team up of Thomas Rhett and Young Thug on “Dance with Me” is fun, although I would have liked to have heard more from Young Thug. “On Me” may be my favorite though, as Noah Cyrus delivers a memorable vocal performance. “So Long” and “Heartbreak” are solid tracks too.

What doesn’t work: The Jonas Brothers are good pop artists but don’t belong anywhere near a country record and “Lonely” doesn’t feel country in the slightest. “Do Si Do” has a good idea on paper but it’s bone dry and boring. Julia Michaels continues to prove she’s one of the most boring artists in music today with her appearances (her voice is the music equivalent of paint drying). “Hometown” is your standard generic, mediocre pop country that I’m not shocked Zac Brown signed on to take part in (it would fit nicely on his garbage solo album). And the inclusion of Diplo’s remix of “Old Town Road” is well…Diplo says it best in his interview with Apple Music: “We just added this on because it was on Columbia.” Hey, at least he’s honest! And I appreciate that he admits this album is a bit incoherent (because it definitely is). So while this is by no means a great album, it shows flashes of potential and makes me want to hear what he has in store for the next album. Light 5/10

Gone WestCanyons

You know I had some hope for this group to be a fresh sound in the mainstream realm. Instead I’m not entirely convinced this isn’t Gloriana but they somehow added former pop star Colbie Cailat as the new front-woman. This is just dull, generic pop country album in a sea full of so many albums that already sound like this. Don’t bother with this/10

Jimmy BuffettLife On The Flip Side

Well I’m not sure what I expected listening to this. It’s a Jimmy Buffett album. If you want light beach music this is it. I imagine this is best enjoyed while drinking a few on the beach. It’s five o’clock somewhere/10

Gabby BarrettGoldmine

While lead single “I Hope” is an enjoyable revenge ballad in the same vein as Carrie Underwood’s “Before He Cheats,” the rest of this album is unfortunately your average pop country mediocrity. Barrett really doesn’t establish a unique sound or identity with this album and instead teeters between bad Underwood impersonation and radio bait. Solid 3/10

Blackberry SmokeLive From Capricorn Sound Studios EP

As always an enjoyable listen from one of the best rock bands in music today. Although I will admit I hoped to enjoy this more. While I enjoy the guest vocals of Jimmy Hall, I would have liked to have heard more from Charlie Starr on lead vocals. But it’s a minor nitpick on an otherwise pretty good EP. Light 8/10

Hill CountrySelf-titled

I’ve seen a lot of buzz about this album and Luke Combs even gave this group a shoutout. So I had to check this out even though I found Zane Williams’ solo output to be hit and miss in the past. Ultimately this is a country album that does nothing spectacularly but it does nothing wrong either. It’s an enjoyable mixture of country, roots rock and bluegrass that has something for all types of country listeners. It’s breezy and accessible music that represents a solid start for this new group. 7/10

Khruangbin Mordechai

I find it difficult to get into instrumental music most of the time and even harder to review it. But Khruangbin is easily an exception to this rule. I had never heard of this group until their excellent collaborative Texas Sun EP with Leon Bridges earlier this year. I’m so glad I found them, as I’ve now listened to their entire catalog after hearing the EP. Even better that they’ve dropped even more music with new album Mordechai. While I wouldn’t put it at the level of their great, southwestern-flavored 2018 album Con Todo El Mundo, this album is another pretty damn good record from the trio. This album centers mostly around a groovy, psychedelic funk sound with tinges of disco and jam pop mixed in at times. The band also surprises by mixing in some vocals on this record and they actually work pretty well. Most importantly they don’t detract from the hypnotic sounds of the band, which will always be the focus and strength of the group. If I had to pick my favorites they would be “Time (You and I)”, “Father Bird, Mother Bird” and album closer “Shida.” The latter is probably the top song for me, as the bass line is simply flawless. And if you’re looking for a relaxing album, you will be hard-pressed to find one more chill than this one in 2020. Solid 9/10

Eric Church — “Stick That in Your Country Song”

Finally I have to of course comment on the lead single for Eric Church’s upcoming new album, “Stick That in Your Country Song.” Without a doubt Church has been one of the best artists in country music for the last several years, as both Mr. Misunderstood and Desperate Man were fantastic albums. So he easily has the clout and respect to drop a song that’s basically calling out lazy songwriting and pandering bullshit being released by all kinds of artists in the industry. Church has been a bit more understated and introspective on his last two albums, so he was due to bring back the fiery, passionate side. 

The results are pretty good, as Church brings an infectious energy in all aspects. The lyrics are as subtle as a hammer to the head and get the point across pretty well, while also bringing attention to what needs to be heard more in country songs. It’s interesting how Church did not have a hand in writing this song, as this is not only a rarity for him, but this song also fits him perfectly. While I’m not fond of country songs that focus on if something is country or not these days, this song is not really about being country, but rather demanding more from his fellow artists. And he’s absolutely right to call them out for this. Once again I’m excited for another Church album!

Raise a Glass of Holiday Cheer or Bah Humbug?: “The Christmas Song”

Welcome to a brand new Christmas feature of Country Perspective! Now in the past long-time readers may remember me passing on reviewing Christmas songs because well I didn’t really know the best way to approach them and I also felt the need to cover what I felt like everybody else wanted me to cover instead of covering what I want. But obviously things change, as I just did my very first Christmas review.

Now my new feature is quite simple: I’m going to take a look at and categorize the different versions of a Christmas song into one of two categories. The good category is Raise a Glass of Holiday Cheer, whether that be egg nog, hot chocolate, or whatever other holiday concoction you prefer (just be responsible of course). The bad category is Bah Humbug, named after the famous retort of Ebenezer Scrooge (the Disney version of it is the best, don’t @ me). The main point of this feature is to have some holiday fun! And maybe you’ll find a new version of a holiday classic to stick in your own playlist. Also please throw your own recommendations in the comments!

The first song I’m going to take a look at is “The Christmas Song,” which you probably remember as the song that involves chestnuts roasting on an open fire. Well that’s the line I remember the most. The song was written in 1945 by Robert Wells and Mel Tommé (the latter actually admitted he doesn’t even like the song). But here’s a fun fact: The song was actually written on a hot summer day! Isn’t that crazy? There’s a little bit more to the story too, so I encourage to click the link above to read it. The song was originally recorded by The Nat King Cole Trio in 1946 and King went on to record several versions of the song in his career, as it became one of his biggest hits. It’s also the most performed Christmas song according to BMI, which is something I did not know either.

Raise a Glass of Holiday Cheer

  • Nat King Cole

The original and gold standard of course must be at the top of the good list!

Or as most of you probably remember it as: A Charlie Brown Christmas music. You really can’t get much classier and respectful when it comes to Christmas music than what you get from Vince Guaraldi Trio. Their entire Christmas discography is great, as even listeners who normally don’t check out jazz music can find enjoyment and Yuletide relaxation from it.

I’m hit and miss on the Jackson family when it comes to their Christmas album, but this is one of the songs I enjoy on it. It respects the classiness of the original version, while still making it feel like the era they recorded it in (1970) and making it their own too.

One day I’m going to write a piece (or pieces?) on how much I enjoy and respect Motown artists. Phil Spector and his artists really knew how to craft melodies and smart, catchy hooks. And The Temptations version of this song is no different, as it’s got a decidedly R&B feeling that makes it feel like a more “adult” version because grownups need Christmas music too.

Alan Jackson’s Let It Be Christmas album is one of my all-time favorite Christmas albums and I encourage anyone who hasn’t listened to it to do so. Jackson’s deep baritone and gentlemanly nature just makes him perfect to record really any Christmas song. It’s safe to assume you will always see him on the good side of this feature.

Bah Humbug!

  • Thomas Rhett

Thomas Rhett’s version of this classic is too smooth and overproduced. I’m so shocked! Not really of course, as it follows a pattern of the majority of his music. This is like the last version I want to hear of this song. As I said in my Bowen review, it’s amazing how modern artists can screw up holiday songs.

Okay, so you might be surprised to see Crosby show up here instead of above. After all he’s performed so many great renditions of Christmas songs and most of the time he will end up on the good list. But this one of his misses in my mind: this is too slow, boring and doesn’t feel like Christmas. Crosby is practically yawning his way through the song. It’s the music equivalent of paint drying. While most older versions of Christmas songs are better, this is an exception to the rule.

When I don’t enjoy an Aguilera song, it’s because she’s overdoing it and going too over-the-top with her lyrics. And that is the case here, as it starts off well enough. But she just can’t help herself by the end of the song.

Just like Bing Crosby, I usually enjoy a lot of Fitzgerald’s versions of Christmas songs. But this song makes a big mistake with it’s thin, jingly production. It feels like a cabaret, bar room lounge rendition of the song. And that’s a shame because Ella Fitzgerald can belt it, so I don’t understand why you would have her record this type of version of the song.

I take it back: Thomas Rhett’s version of “The Christmas Song” isn’t the worst. She & Him’s version is the worst. Also I finally get my opportunity to put this (digital) pen to paper: She & Him are absolutely awful. They’re one of the most annoying acts in music. From the general vibe they give off in their music to their album covers, they come off as snobby, pretentious and overwrought. The only thing they’re missing is fedoras. I openly gag when I hear their music. Just like Alan Jackson being a lock for the Holiday Cheer list, She & Him are a lock for Bah Humbug.

Album Review — HARDY’s ‘HIXTAPE, Vol. 1’

HARDY (real name Michael Hardy) has been writing a lot of songs for some of the biggest names in mainstream country in the the last few years and now he’s stepping into the spotlight himself with what is essentially his debut album, HIXTAPE, Vol. 1. It features several collaborations from various country artists (17!) and is based off the successful mixtape format popularized by hip-hop. And I have to say I did not expect to review this album at all. Even more surprising: I did not expect to enjoy this as much as I did.

Lead song and single “Boy from the South” features Cole Swindell and Dustin Lynch. It’s an okay track about your typical guy from the south. Swindell’s part I enjoy, but not so much Lynch’s part. Other than the John Boy and Billy Big Show shout out and the funny line about writing “We Want Bama” on the windshield (which you shouldn’t write if you’re a fan of a southern team not named Clemson, Georgia or LSU), the lyrics are pretty average for me.

“He Went to Jared” is my favorite song on the album. Featuring Morgan Wallen, the song is about a working man getting dumped by his woman for a rich man. I love the simple storytelling and hooks used and Wallen’s unique voice is the perfect choice for this song. Also am I the only one who gets a chuckle out of the line “I’m just sittin’ here with a beer and my jeans tucked”? It’s such a random ass observation, but it fits so well.

“Redneck Tendencies” is a modern day, redneck version of “Mama Tried” and sees HARDY calling on ’90s country staples Trace Adkins and Joe Diffie. Both are great features on this fun little singalong. “Nothin’ Out Here” features Thomas Rhett and is your standard “don’t overlook small town” songs that doesn’t have anything new to say about the subject nor is it catchy. It’s ironic that the two singles of this album are the ones I skip when listening to this album.

“My Kinda Livin'” is about taking pleasure in country living. HARDY is joined by Hunter Phelps and Jameson Rodgers and I have to say I’m not too familiar with Phelps and Rodgers. But the three sound pretty good together and they fit this easygoing song well. The crickets chirping in the background throughout are a nice touch, as they compliment this tone too. Unlike “Nothin’ Out Here,” “No Place like Hometown” is a small town song I can get behind. The sentiment resonates with me, Keith Urban’s solo vocals sound good and I really enjoy the harmonies of HARDY, Urban and Hillary Lindsey in the latter half of the track.

Mitchell Tenpenny and Jon Langston join in on “Something a Lil’ Stronger” and I have to admit this was the song I was expecting to hate the most because I have not been a fan of Tenpenny up to this point. But I have to give props where it’s due: he sounds great on this song and so does Langston. The both fit this singalong about always wanting to move on to something stronger and better, whether it be a drink or a woman. The simple and catchy observational tone reminds me a lot of another song I like, Jon Pardi’s “What I Can’t Put Down.” This is definitely a highlight of the album and Tenpenny should consider working with HARDY more.

The underrated Tracy Lawrence knocks it out of the park on “What They Make Backroads for.” Jake Owen sounds pretty good too. These are both artists who just know how to approach these simple country songs that aren’t trying to be anything more than fun singalongs. These may seem like shallow observations, but there’s not much more to say when it comes to these type of songs: you listen to them and they either work or they don’t, and this one works. “Turn You Down” is that fun rocker, Friday night anthem that this album needed. It’s another great feature from Morgan Wallen and Zakk Wylde is awesome at delivering the rollicking guitar licks that make you want to bang your head. Also I love the depiction of Wylde on the cover of the album, which is one of the most memorable albums covers I’ve seen this year.

After an album of fun songs, the album closes with a more serious song in “One Beer,” which is nice to see. It’s about how one beer turns into a hook-up, which turns into an unexpected pregnancy, then a unexpected marriage and family. It’s a real story that happens in small towns every day across America, so I praise the storytelling of the lyrics. Devin Dawson and Lauren Alaina are the guest artists, but I really don’t feel their presence like other guest artists on the album. Nevertheless, they all three sound good harmonizing together.

Readers familiar with my reviews might be shocked to see I enjoy HARDY’s HIXTAPE, Vol. 1, but that’s because you’re not listening to this album for what it’s trying to be: a fun album full of catchy, mindless songs that are easy to turn on and immediately get into. And this album does this well. HARDY isn’t trying to make you think, he just wants you to have a good time and I do when listening to his mixtape.

Grade: 7/10

The Current Pulse of Mainstream Country Radio [February 21]

little-big-town-better-man

Each week we take a look the Billboard Country Airplay chart and grade the top 30 songs. The grading format I use each week is every song will receive one of the following scores: +5, +4, +3, +2, +1, 0, -1, -2, -3, -4, -5. These will then be tallied up for an overall score, or pulse of the current top thirty country songs, with the highest possible score being a +150 and the lowest possible score being a -150. How do I determine the score for the song? The review grade it received on the site or myself will determine this. If it hasn’t been reviewed yet, then I will make the call. The grade it has received or I would give it determines its Pulse score. The grading key: 10 [+5], 9 [+4], 8 [+3], 7 [+2], 6 [+1], 5 [0], 4 [-1], 3 [-2], 2 [-3], 1 [-4], 0 [-5].

The goal of this exercise is to evaluate the current state of mainstream country music and determine if it’s improving or getting worse. Let’s take a look at this week’s top thirty…

  1. Little Big Town – “Better Man” +2 (Up 1)
  2. Chris Young (feat. Vince Gill) – “Sober Saturday Night” +1 (Up 1)
  3. Michael Ray – “Douchey Pickup Song” -5 (Up 4)
  4. Brad Paisley – “Today” +2 (Up 2)
  5. Jon Pardi – “Dirt on My Boots” +1 (Up 3)
  6. Dustin Lynch – “Seein’ Red” -5 (Down 5)
  7. Blake Shelton – “A Guy With A Girl” -1 (Down 2) 
  8. Eric Church (feat. Rhiannon Giddens) – “Kill A Word” +4 (Up 1) [Best Song]
  9. Luke Bryan – “Fast” -1 (Up 1)
  10. Jason Aldean – “Any Ol’ Barstool” (Up 2)
  11. Lauren Alaina – “Road Less Traveled” -2 
  12. Brantley Gilbert – “The Weekend” -5 (Up 1)
  13. Kelsea Ballerini – “Yeah Boy” -5 (Up 1)
  14. Kenny Chesney – “Bar at the End of the World” -3 (Up 3)
  15. Josh Turner – “Hometown Girl” (Up 1)
  16. Garth Brooks – “Baby, Let’s Lay Down and Dance” (Down 1)
  17. High Valley – “Make You Mine” -2 (Up 1)
  18. Sam Hunt – “Body Like a Back Road” -5 (Up 3) [Worst Song]
  19. Dierks Bentley – “Black” -2 
  20. Luke Combs – “Hurricane” -1 (Up 4)
  21. Trent Harmon – “There’s A Girl” +1 (Down 1)
  22. Chris Janson – “Holdin’ Her” +4 
  23. Dan + Shay – “How Not To” +1
  24. Darius Rucker – “If I Told You” (Up 1)
  25. Rascal Flatts – “Yours If You Want It” -2 (Up 2)
  26. Craig Campbell – “Outskirts of Heaven” +3 
  27. Lady Antebellum – “You Look Good” -4 (Up 2)
  28. Miranda Lambert – “We Should Be Friends” +2
  29. Brett Young – “In Case You Didn’t Know” -2 (New to Top 30)
  30. Runaway June – “Lipstick” +3

The Current Pulse of Mainstream Country Radio: -25

The pulse improves one spot this week.

Songs That Dropped Out of the Top 30 This Week:

  • Thomas Rhett – “Star of the Show” -3

Songs That Entered The Top 30 This Week:

  • Brett Young – “In Case You Didn’t Know”

Biggest Gainers This Week:

  • Michael Ray – “Douchey Pickup Song” – Up 4 from #7 to #3
  • Luke Combs – “Hurricane” – Up 4 from #24 to #20
  • Jon Pardi – “Dirt on My Boots” – Up 3 from #8 to #5

Biggest Losers This Week:

  • Thomas Rhett – “Star of the Show” – Out of the Top 30 & Done
  • Dustin Lynch – “Seein’ Red” – Down 5 from #1 to #6
  • Blake Shelton – “A Guy With A Girl” – Down 2 from #5 to #7

Songs I See Going Recurrent & Leaving The Top 30 Soon:

  • Dustin Lynch – “Seein’ Red”
  • Blake Shelton – “A Guy With A Girl”
  • Chris Janson – “Holdin’ Her”
  • High Valley – “Make You Mine” (Fun fact: The music video for this song was released on January 29, 2015)
  • Runaway June – “Lipstick”

On The Hot Seat:

  • Garth Brooks – “Baby, Let’s Lay Down and Dance” (Appears to finally be losing momentum. But I still want to see it somehow reach top ten)
  • Trent Harmon – “There’s A Girl”
  • Craig Campbell – “Outskirts of Heaven”
  • Darius Rucker – “If I Told You”

Next Four Songs I See Entering Top 30:

  • Zac Brown Band – “My Old Man”
  • Keith Urban (feat. Carrie Underwood) – “The Fighter”
  • Cole Swindell – “Flatliner”
  • Florida Georgia Line (feat. Backstreet Boys) – “God, Your Mama, and Me”

 

Notes: RaeLynn’s “Love Triangle” has went recurrent and is done. Parmalee’s “Roots” and Jake Owen’s “If He Ain’t Gonna Love You” both appear to be finished. Chris Lane’s “For Her” appears destined to be stuck in the mid 30s muck (but this is a good thing). LoCash’s “Ring on Every Finger” is struggling to build momentum like its previous singles. I bring all of this up because these are most of the songs directly behind the next four songs I see entering the top 30. Essentially there’s a vacuum there ready for someone to take advantage and it’ll be interesting to see who fills it. Blake Shelton’s “Every Time I Hear That Song” will of course be a hit. But then you have Justin Moore’s “Somebody Else Will” and Dylan Scott’s “My Girl.” They’re the closet in airplay, but radio doesn’t seem that keen on either. Scott has yet to have a hit and Moore’s last single took forever to climb the charts (never forget it went recurrent one week after going #1). Brothers Osborne’s “It Ain’t My Fault” is off to a good start, much better than their last single. They should reach the top 30 no problem. Billy Currington’s “Do I Make You Wanna” could make it by sheer process of elimination. Easton Corbin’s “A Girl Like You” seems like the next logical choice and something radio would get behind. Finally you have Drake White’s “Makin’ Me Look Good Again” quietly marching up the chart and looking like a possible sleeper hit.

 

As always be sure to weigh-in with your thoughts in the comments below. 

Reacting to The Absolute Joke of the 2017 ACM Awards Nominations

pile_of_shit

Let’s be honest, I’ve never been that fond of country music award shows. Outside of the 2015 CMA Awards that helped launch Chris Stapleton to a brand new level of stardom, I’ve pretty much scoffed at these shows. As I’ve said before, no other genre spends more time patting themselves on the back than country music. This is evident by the heaps of award shows held throughout the year and this trains the viewer to basically not give a shit. But nevertheless we keep an eye on these shows in hopes they get it more right each time. Well we now have the nominations for the 2017 ACM Awards and there’s no other way to put it. These are an absolute joke. My first reaction was are these the mainstream country radio awards? Because it’s mostly a list of radio darlings that programmers fall over themselves to play. After seeing these nominations it makes me not want to watch and may not. Each category seems to have its own joke, so let’s pick through each.

Entertainer of the Year

  • Jason Aldean
  • Luke Bryan
  • Florida Georgia Line
  • Carrie Underwood
  • Keith Urban

No Eric Church or Chris Stapleton, but sure Aldean and Florida Georgia Line get nominations. Complete failure already before we even get to the more insane nominations. I know the ACMs are in the tank for Aldean, but could they be any less discreet about it? The only nomination even worthy of winning is Carrie Underwood for her excellent touring numbers and consistently churning out hits and I give her a snowball’s chance in hell of winning. Aldean and Bryan are the odds on favorites here.

Male Vocalist

  • Jason Aldean
  • Dierks Bentley
  • Thomas Rhett
  • Chris Stapleton
  • Keith Urban

Once again Eric Church isn’t a nomination. Church released the best album of his career and is releasing the best singles of his career. And every awards show is stiffing him. I guess the industry is pissed he isn’t giving them radio fodder anymore. But I’m guessing Church doesn’t give a shit. Another category with one worthy candidate in my mind: Chris Stapleton. Remember when Dierks Bentley was considered one of the good guys at these shows? Then he decided he wants to be Luke Bryan and make a bunch of cheesy and stiff adult contemporary schlock. No Tim McGraw. Also no Blake Shelton in any categories. Well there’s some good news.

Female Vocalist

  • Kelsea Ballerini
  • Miranda Lambert
  • Maren Morris
  • Kacey Musgraves
  • Carrie Underwood

I don’t know why Kacey continues to go to these awards show when she and everyone else knows she’s just a token nomination to fill out the field. What did she do in 2016 to earn a nomination? She didn’t release any new music. And keep in mind this isn’t a jab at her. She’s one of the best on a major country label. You would think Miranda is the shoe-in to win, but with her turn towards a more songwriter/Americana-like side I wouldn’t be surprised at all if Maren Morris wins. She seems poised to usurp Lambert as the new female darling in mainstream country and is racking up awards like crazy.

Vocal Duo

  • Big & Rich
  • Brothers Osborne
  • Dan + Shay
  • Florida Georgia Line
  • Maddie & Tae

Big & Rich are a Vocal Duo nomination in 2017…..hahahahahahahahahahahahahahaha! They released one single last year that took like 40 weeks to peak at #14 on the Billboard Country Airplay chart. They’re completely irrelevant. What in the hell makes them deserving of a nomination? Maddie & Tae are a complete token nomination like Musgraves above. I don’t see Dan + Shay being quite in the position to win yet. So it’s between CMA 2016 Duo of the Year Brothers Osborne and past years favorite Florida Georgia Line. I’m hopeful the former wins, but being a radio favorites show I expect the latter to win.

Vocal Group

  • Eli Young Band
  • Lady Antebellum
  • Little Big Town
  • Old Dominion
  • Rascal Flatts

Eli Young Band?! Where are they getting these joke ideas for nominations? You’re telling me Eli Young Band is a nomination, but not Zac Brown Band who at least had a song reach the top 15 in the last year and are a mainstream staple? Get out of here! Lady Antebellum was on hiatus for all of 2016. Rascal Flatts are irrelevant. Yet despite this joke of a category, the best group Little Big Town should easily walk away with this award.

New Male

  • Kane Brown
  • Chris Janson
  • Chris Lane
  • Jon Pardi
  • Brett Young

Out of all the categories, this actually might be the one I have the least qualms with because these are all new male artists who have did something notable in the last year. Despite not being a fan of him, Kane Brown is deserving based on the fact that he does sell well and has great streaming numbers. While you and me might not like him, there are many he does resonate with and it’s ironic he’s one of the few nominations where the ACM looked beyond radio. Hands down this should go to Jon Pardi, who achieved a #1 album with California Sunrise, racked up a #1 hit in “Head Over Boots” and is on his way to another #1 in “Dirt on My Boots.” And I think it actually does go to him because his accomplishments blow the others out of the water. If anyone else wins I’m calling shenanigans.

New Female

  • Lauren Alaina
  • Cam
  • Brandy Clark
  • Maren Morris

That’s right they couldn’t even fill out the nominations for this one. Hey ACMs: Margo Price and Aubrie Sellers. Did you forget they exist? How is Brandy Clark new? This is just another award for them to give Maren.

New Vocal Duo/Group

  • A Thousand Horses
  • Brothers Osborne
  • Dan + Shay
  • LoCash
  • Maddie & Tae

None of these are really new, but then again barely anything else makes sense with these awards. I’m guessing Brothers Osborne or Dan + Shay win here.

Album

  • Dierks Bentley – Black
  • Florida Georgia Line – Dig Your Roots
  • Maren Morris – Hero
  • Keith Urban – Ripcord
  • Miranda Lambert – The Weight of These Wings

This should 1000% go to Miranda Lambert for her great album. But it’ll probably go to Urban or Morris or maybe even Bentley. You could take the best material from all of the non-Lambert ones, put it in one album and it still wouldn’t top Lambert’s album.

Single

  • Keith Urban – “Blue Ain’t Your Color”
  • Florida Georgia Line – “H.O.L.Y.”
  • Tim McGraw – “Humble and Kind”
  • Maren Morris – “My Church”
  • Miranda Lambert – “Vice”

Key distinction is this is single. I’m kind of surprised Thomas Rhett’s “Die A Happy Man” isn’t here, but rather under Song below. I don’t give Lambert a chance here either sadly. I could see any of the other four winning.

Song

  • Keith Urban – “Blue Ain’t Your Color”
  • Thomas Rhett – “Die A Happy Man”
  • Tim McGraw – “Humble and Kind”
  • Eric Church (feat. Rhiannon Giddens) – “Kill A Word”
  • Chris Stapleton – “Tennessee Whiskey”
  • Miranda Lambert – “Vice”

I would be happy with any of the bottom four winning, but watch one of the top two win. If I had to pick the winner I would definitely go with “Kill A Word,” being the best song of the nominations and for Church getting screwed over in general.

Video

  • Chris Stapleton – “Fire Away”
  • Various Artists – “Forever Country”
  • Tim McGraw – “Humble and Kind”
  • Kelsea Ballerini – “Peter Pan”
  • Miranda Lambert – “Vice”

With all due respect to the other videos, “Fire Away” is the no-brainer best video. It’s one of the powerful music videos I’ve watched in years and takes the song to a whole new level of meaning. Instead though “Forever Country” will probably win because it’s done insane numbers on YouTube and sold well (also great numbers on this very blog). The only hesitation I have of it winning is this song was specifically made for the ACM’s chief rival show CMA’s 50th Anniversary. How ironic would that be if it won an ACM Award?

Songwriter

  • Ashley Gorley
  • Luke Laird
  • Hillary Lindsey
  • Shane McAnally
  • Lori McKenna

McKenna has to win this one, right?

Vocal Event 

  • Dierks Bentley (feat. Elle King) – “Different For Girls”
  • Various Artists – “Forever Country”
  • Florida Georgia Line (feat. Tim McGraw) – “May We All”
  • P!nk (feat. Kenny Chesney) – “Setting The World on Fire”
  • Chris Young (feat. Cassadee Pope) – “Think of You”

I could see a case made for any of these conceivably winning. I think this will largely depend on the other categories’ winners.