Pre-CMA Awards thoughts (and prayers?) on the CMA Awards...
First, the disclaimer.
Over the course of twenty odd (both meanings are applicable) years of writing and producing songs in Nashville:
- I saw my name listed as writer or co-writer on a half dozen songs that charted (never higher than fifty or so, but this is the inevitable result when the recording artists pretty much all come from the folder labeled "Hey, Yeah...Actually, Uh, No...."),
- I was able to claim bragging rights for having co-written the number one country song in Canada, both for several weeks, and at the end of the year, for the whole year in the year 1991. This, of course, has nothing whatsoever to do with the CMA, but, hey, bragging rights, okay?
- There was the "honor of just being nominated" in 1995 for a "Best Bluegrass Album" Grammy, having co-written a song on the Grammy nominated bluegrass album, "Moonlighter" by the Grammy nominated bluegrass artist, Claire Lynch. (When an album is nominated, all the songs are considered part of the nomination and all the writers of all the songs are considered nominated...at least to the point that for the rest of their lives, the writers can all, if only technically, refer to themselves as "Grammy nominated")....and she/they/we didn't win that Grammy that year. It went to "Nashville Bluegrass Band" (and I've always suspected that the name had a lot to do with the choice Grammy voters made....and if the very talented lady who recorded our song had thought to bill herself as "Claire 'Bluegrass' Lynch", all of our lives would have turned out radically different, re' the Grammy nomination.
- And, over that same twenty years, I earned the right to share that I had written, or co-written, songs that were enthusiastically rejected by some of the then-greats of country music... Reba, Randy Travis, George Jones...and my all time proudest moment history of rejection wise...Kenny Rogers. (With a song that his producer played for him in studio, insisting that it was potentially as much a hit as "Coward of the County" or, praise its holy name, "The Gambler", said producer to be rebuffed repeatedly and politely, but firmly, by said Kenny Rogers....I'd share the whole story but this piece, evidence to the contrary, isn't about me...and the movie rights to the whole story are still pending, so.....)
- Oh...did I mention that I was Grammy nominated in 1995?
All of this resume' rambling is by way of qualifying myself for the observations/opinions about to appear regarding this year's CMA's. Call it expert opinion, call it POV from an experienced professional, call it sour grapes from a once upon a time, destined to hit it big time songwriter who has yet, to this day, to figure out what the fark Kenny was thinking.
And, by the way, the key word in the oft heard phrase "honor just to be nominated" is, despite what you might assume, NOT the word "nominated".
It's the word "just".
Meanwhile...
The previously teased pre-CMA Awards thoughts on tonight's/this year's CMA Awards.
Two major categories catch the eye right off the bat.
Entertainer of The Year:
- Luke Combs
- Chris Stapleton
- Carrie Underwood
- Morgan Wallen
- Lainey Wilson
Female Vocalist of the Year:
- Kelsea Ballerini
- Miranda Lambert
- Ashley McBryde
- Carly Pearce
- Lainey Wilson
Lot of young, diverse talent on display here. Couple of "hmms..."
First, draw whatever conclusion you will, but only two out of the five nominees for Entertainer of the Year are women. By my Louisiana, 1960's 3rd Grade math skills, that's 40%.
Hmm.
If ever there was a moment that the phrase "good ol' boys" showed up in the medulla to no one's surprise, this would be just such a moment.
Of course, the next category gives the ladies their full props, five out of five (100%, memory and Cajun classroom skill set serve).
Of course, the title of the category may have been an influencer among voters, but, that doesn't take a thing away from the estrogenic accomplishment.
You go, girls.
The other "hmmm" here?
The word "token" is both rude and, arguably, inappropriate. But ya cain't help but notice (if only because I'm pointing it out) that in each category, there is one (and only one) nominee, due respect freely offered, whose nomination could be soundtracked with the wonderful, some time ago hit song by Roy Clark....
"Yesterday, When I Was Young"
But well earned congrats and "we're not worthy"s to both Carrie and Miranda.
You go, too, girls.
And there's no gender oriented "singling out" going on here. The same thing happens in the vocal duo of the year list.
Vocal Duo Of The Year:
- Brooks & Dunn
- Brothers Osborne
- Dan + Shay
- Maddie & Tae
- The War And Treaty
As a matter of fact, the combined ages and/or years of country music fame of the aforementioned here actually exceed the current age of Joe Biden.
So what gets said next may be debatable, but it can't be considered implausible.
Damn. They been around some kinda long time.
In fact, memory serves, Kix and Ronnie's first album was released on CD, LP, cassette, 8 track and, pretty sure, one of those Edison cylinder dealios. (bonus tip: laugh all you want, but the sonic quality of those cylinders was easily the equal of those 8 tracks...without that annoying "da-dunk" sound the tape made when it "changed tracks")
Here's one of my favorites when it comes to the "new" country music.
Song of the Year:
- “Fast Car”; Songwriter: Tracy Chapman
- “Heart Like A Truck”; Songwriters: Trannie Anderson, Dallas Wilson, Lainey Wilson
- “Next Thing You Know” Songwriters: Jordan Davis, Greylan James, Chase McGill, Josh Osborne
- “Tennessee Orange”; Songwriters: David Fanning, Paul Jenkins, Megan Moroney, Ben Williams
- “Wait In The Truck”; Songwriters: Renee Blair, Michael Hardy, Hunter Phelps, Jordan Schmidt
"Collaboration" in the art of songwriting is nothing new. In fact, the "solo" songwriter (not counting those songwriters who also sing their own songs, hence the term "singer/songwriter") is arguably the exception as opposed to the rule, not only in country, but in pop, rock, pick a genre', any genre'.
And country music? Some pretty powerful partnerships.
Bobby Braddock and Curly Putnam. Max D. Barnes and Troy Seals. Hank Cochran and Dean Dillon.
And the songwriting royals if'n ever there was one/some.
Felice and Boudleaux Bryant.
Ooh-lah-lah/they wrote/"little Suzie"....
But there's collaboration. And there's a zebra.
Defined as "a horse put together by a committee".
And in the Nashville writers community of the "new Country", the spirit of Harry Nilsson floats gently but surely above.
One, most surely, is the loneliest number.
Four.
The current songwriter model.
Hell, man. Four ain't a writer's room.
It's a tailgate party.
Yes, there are two exceptions in that list of nominees this year.
Lainey Wilson's "Heart Like A Truck" required only three writers. One of them, of course, Lainey. And, full disclosure, Dallas Wilson is the son of a long time friend and colleague of mine, so there will understandably be no snark or cheap shots regarding this much deserved nomination.
That said, my satirical sensors are at Def Con One at the wonderful political comedy of a song generated in the aorta of the heart of conservative America, in conservative America's favorite musical genre'...and co written by a talented young lady named Trannie.
Not that there's anything wrong with that.
I would also be remiss if I didn't take, at least, a passing swipe at the empirical evidence that motor vehicles continue to be "go-to" song fodder with a frequency not seen since Mel Tillis wrote what Bobby Bare sang about wantin' to go home in "Detroit City".
Two "Trucks" and a speedy sedan.
Jesus, it clearly still takes a wheel.
And, yes, there is one song in the list of nominees that was written by one and only one writer.
"Fast Car" Written and recorded, decades ago, by Tracy Chapman.
And ably, and wisely, recorded by Luke Combs.
20% of the 60% of testosterone equipped nominees for Entertainer of the Year.
Oh...and props where 'propriate....Combs "wisely" recorded/sang/sings "Fast Car" the way Tracy recorded/sang/sings it.
Proving that Hank, Jr. was right. But not only can a country boy survive, he can spot a "ain't broke, so don't fix it" a country mile away.
Not to mention the totally unnecessary need to recruit three others to crank out two verses, a chorus and a bridge to a chorus fade out.
All of the preceding has, of course, been offered in the spirit of good, fun, tongue in cheekiness. From a writer of some modest accomplishment who, truth be told, has absolutely no idea, whatsoever, who any of the nominees for New Artist or Musician of the Year are, freely, therefore, admitting his clear and obvious transition in to the "last box" demographic ( you know....."65 and older"....the. last. box.)
And just so I can say I got the funny bone out of my throat.....
...I'm not sure I want to go on living in world where one of the nominees for the Country Music Association Male Vocalist of the Year is named "Jelly Roll". (I won't testify to it in court, but I'm pretty sure that Mr. Acuff, Mr. Rose, possibly even George and Tammy, are spinning around in their assorted places of peace resting).
Tonight, at this writing, some nominees will become winners.
And some nominees....
Will totally get what I meant a few minutes ago when I highlighted the word "just".
Oh...and Jelly Roll? I've heard your stuff. Like it a lot. Was just kidding.
And you've a new fan.
If only because you didn't share your enthusiasm for being celebrated/honored by posting a thank you vid while sitting on the toilet.
In a world of country music that went from Hank and Patsy and Loretta and George and Tammy....to a Lil Nas X.
In the plop of a dump.
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