Guess Who?--Part 2

(Today's word will be in ALL CAPS, BOLD, ITALIC, and STRIKETHROUGH.)




One of my earliest posts was about how some newer country artists sound similar to other, established country singers: http://kuplramblings.blogspot.com/2011/06/guess-who.html

Since that post, I've realized that I left out an obvious pairing of similarities, (to me at least), a new artist to add to the list, and a country singer I didn't think sounded like someone, until it was brought to my attention.

The artist I left off the previous list is Justin Moore. From the first time I heard Moore's music, I've thought he sounds like Blake Shelton.

Recently I was able to hear Moore and Shelton duet, live in concert, and to me, they're totally similar in sound. I'm sure there are those who will disagree; as I said, it's just what I hear when I hear both voices.

The first time I heard Hunter Hayes' "Storm Warning", I thought it was a new Rascal Flatts tune. Took me a few times of hearing it, to remember it's not Gary LeVox.

Though I haven't heard any other cuts from Hunter Hayes' debut CD, others have told me not all the songs sound like the Flatts boys.

I've always thought Eric Church had his own style of singing; until his latest single, "Springsteen". Even then, until I heard Earthquake Jake mention it on "Simon in the Morning", I didn't notice how much Church sounds like Willie Nelson on this song.

Even then I wondered if maybe I heard it because it was suggested that Church sounds like Willie. Then one day I heard the song on the radio, and had a moment where I couldn't remember the song. Eric really did sound like Willie Nelson!

If/when I come across any other country artists who sound alike, I'll add them to this growing list. I hope you find these match-ups as FUN and interesting as I do.

47th Annual ACM Awards

Watching the Academy of Country Music Awards Sunday, April 1, 2012 may have seemed like a bit of an April Fool's joke to some.

For one, there are actually 35 awards handed out, from awards to radio stations, and air personalities, to Entertainer of the Year. However, of these 35 awards, how many actually made it on to the three hour broadcast Sunday evening? Nine, yes, that's a single digit, nine; less then a third of the awards presented actually were broadcast on the air.

The rest of the broadcast was made up of performances, between artists at the MGM Grand in Las Vegas, and others at the "Fan Jam" at Mandalay Bay.

Granted, performances are definitely a large part of what draws viewers to these type of shows. I guess it's just me that feels, if it's an *awards* show, the awards should actually be what's featured the most.

Also, I won't deny that I love all genres of music, and I'm as big a KISS fan as anyone; but seriously, what was the point of them being at the ACM Awards? Had there been some legitimate reason given, (other than they're KISS), maybe I'd understand; there wasn't though, so I'm still left wondering. It was cool, but still...

Hosting duties were once again handled by Reba McEntire and Blake Shelton. Both did an excellent job as hosts, despite some of the lame jokes they were given to say.

Two performances that were hyped quite a bit were by Toby Keith and Rascal Flatts.

Toby's live performance of "Red Solo Cup" was touted as having "Las Vegas entertainers", joining the singer singing the song. While Toby wandered through the audience at the MGM Grand, singing his hit, the only entertainers I saw were Carrot Top, Wayne Newton, a show girl and towards the end of the song, the Warren Brothers.

Except for Wayne Newton, where were the "Las Vegas" entertainers? It's not like there aren't plenty of them! And as Earthquake Jake pointed out on KUPL this morning, it would have been really cool if Garth had been part of the performance; after all, he does perform in Vegas now.

Rascal Flatts' performance of their new single, "Banjo" was to feature comedian and grammy winner, Steve Martin, performing with the band. Well, Steve was there, and he played the banjo; but that was it. He stayed in the background, barely moved at all, and basically just blended in with the other musicians.

I would think, if you're going to plug Steve Martin as a guest performer, he'd have been given a bigger role. Especially since another banjo player with the band had a featured solo spot. Why wasn't Martin given that spot?

Both of these presentations were very lackluster in producing what had been promised.

On the other hand, one really cool presentation was when Martina McBride and Train's Pat Monahan sang "Marry Me" while a couple was actually being married on stage behind them. Not a way I'd want to be married, but for a Vegas wedding, it was pretty nice.

As far as the actual awards are concerned, for me, there were a couple nice surprises, along with some of the obvious winners for the night.

Though they were surprised with the award the night before the show, I was happy to hear that Thompson Square had won for "Vocal Duo of the Year".

Another pleasant surprise was the Eli Young Band winning, "Song of the Year", for "Crazy Girl". Love the song, and the band!

The 2012 ACM Awards actually added a new award to their list, the first new addition since the 1960's; "Songwriter of the Year".

Sounds prestigious, for sure, and you would think, being a new award, it would have been on the broadcast part of the show; not the case.

Not only was the award not broadcast, it was relegated to one of the awards that the winner is notified ahead of time, so they can be in Las Vegas, or not, if they didn't win.

Of this year's inaugural nominees: Rhett Akins, Ben Hayslip, Dallas Davidson, (the three are known collectively as "The Peach Pickers"), Luke Laird, and David Lee Murphy; Dallas Davidson walked away with the award.

One thing I did notice this year also was that, except for Thompson Square getting a brief mention for winning "Duo of the Year", the off camera awards weren't announced during the show.

In the past, though they're given out before the broadcast, artists, producers, radio stations, air personalities, etc., were all at least mentioned during the broadcast as having won.

Over all, the show was mostly entertaining. It had it's good moments, and it's not so good ones; and things I'd like to have seen done differently, for sure.

For those who missed the show Sunday evening, here's the complete list of winners, including those that weren't aired during the three hour broadcast:

Vocal Event of the Year: “Don’t You Wanna Stay” by Kelly Clarkson and Jason Aldean

Video of the Year: “Red Solo Cup” by Toby Keith

Songwriter of the Year: Dallas Davidson

Song of the Year: “Crazy Girl” by the Eli Young Band

Single Record of the Year: “Don’t You Wanna Stay” by Kelly Clarkson and Jason Aldean

Album of the Year: “Four the Record” by Miranda Lambert

New Artist of the Year: (American Idol winner) Scotty McCreery

Vocal Group of the Year: Lady Antebellum

Vocal Duo of the Year: Thompson Square

Female Vocalist of the Year: Miranda Lambert

Male Vocalist of the Year: Blake Shelton

Entertainer of the Year: Taylor Swift


Small Market Radio On-Air Personality of the Year: Bill Barrett, Tim Fox, and Tracy Berry from KKNU-FM in Eugene, OR

Medium Market Radio On-Air Personality of the Year: Roger, Tom, and Melissa on WPCV-FM in Lakeland, FL

Large Market Radio On-Air Personality of the Year: Big Dave and Chelsie from WUBE-FM in Cincinnati, OH

Major Market Radio On-Air Personality of the Year: Kelly Ford and Rider from KYGO-FM in Denver, CO

National Radio On-Air Personality of the Year: Lon Helton for the CMT Country Countdown USA

Small Market Radio Station of the Year: WUSY-FM in Chattanooga, TN

Medium Market Radio Station of the Year: KATM-FM in Stockton, CA

Large Market Radio Station of the Year: WQDR-FM in Raleigh, NC

Major Market Radio Station of the Year: WQYK-FM in St. Petersburg, FL

Specialty Instrumentalist of the Year: Aubrey Haynie

Steel Guitar Player of the Year: Paul Franklin

Piano and Keyboard Player of the Year: John Hobbs

Guitar Player of the Year: Kenny Greenberg

Fiddle Player of the Year: Stuart Duncan

Percussionist and Drummer of the Year: Shannon Forrest

Bass Player of the Year: Michael Rhodes

Audio Engineer of the Year: Justin Niebank

Producer of the Year: Frank Liddell

Promoter of the Year: Brian O’Connell from Live Nation

Talent Buyer of the Year: Jimmy Jay from Jayson Productions Inc.

Venue of the Year: Bridgestone Arena in Nashville, TN

Nightclub of the Year: Billy Bobb’s Texas in Ft. Worth, TX

Casino of the Year: Mandalay Bay Hotel and Casino in Las Vegas, NV

Blake Shelton's "Well Lit & Amplified" Tour--March 11, 2012

(Today's word will be in ALL CAPS, BOLD, ITALIC, and STRIKETHROUGH.)


Sunday, March 11, 2012 Blake Shelton brought his "Well Lit & Amplified" tour to the Rose Garden Arena in Portland, Oregon.

Dia Frampton, runner-up on season one of "The Voice", got the music started.

Frampton looked at ease, singing and roaming the stage barefoot. Though at times the music drowned her out, Dia's voice did shine through beautifully for the most part.

After a short break, Justin Moore was next up. It occurred to me that I've always thought Moore sounds quite a bit like Blake Shelton; and now I was seeing them both in the same evening.

Moore rolled out all his hits, as well as covers of others. Like Dia Frampton before him, there were times Moore's voice was overshadowed by the music. For the most part though, his performance was great.

Another short break, and it was time for headliner, Blake Shelton.

The first time I saw Blake Shelton was eleven years ago, at the Ponderosa Lounge in Portland, Oregon. He was a 25 year old kid, with long hair, beautiful blue eyes, and one hit, "Austin". At the time, Blake seemed a bit shy, though he was friendly to everyone who met him that night.

The next time I saw him, the venue was a bit bigger, the Tillamook County Fair, in Tillamook, Oregon. The hair was shorter, the eyes just as blue, and a few more hits under his belt. By then the shyness was mostly gone, but not the friendliness.

Now, there I was in the huge Rose Garden Arena, and the same man was onstage, taking full command of the show, with very little shyness, if any.

Shelton did joke around that he drinks when he's nervous; and proceeded to be "nervous" a lot throughout the concert.

The sound for Shelton's set was really good, whether the song was quiet, or a more rocking one. And Shelton did plenty of both types of music; all the while talking, joking and interacting with the audience. He, and his voice were in excellent form.

It was like having seen a bud come into full bloom. Sometimes artists don't make the transition from small venues to large ones very well; Shelton made it look easy.

From Dia Frampton, to Justin Moore, to Blake Shelton, there wasn't a dull moment from beginning to end. If these three artists weren't enough, the crowd in Portland got another surprise that night.

About half way through his performance, Blake started talking about his wife, Miranda Lambert, and how she and Blake have varying tastes in music. Blake then started singing Lambert's song, "Baggage Claim"; but before going too far, said his wife could do the song better than he could, so she should be the one to do it.

Blake then asked the crowd if they'd like to hear his wife do the song. Of course the entire arena went crazy, screaming and cheering. To be honest, I thought Blake was kidding around, since his set that night had opened with "Baggage Claim" being played over the speakers. Lo and behold though, amidst all the hubbub, who walked out on stage but MIRANDA!

Lambert was as on the spot with her singing as the others had been before her that evening. It was a cool surprise!

After Miranda was done, she left the stage and Blake continued with his songs. Both Dia Frampton and Justin Moore joined Shelton on stage at different times, to perform with him.

The "Well Lit & Amplified" tour is one of the best large venue shows I've seen in awhile. If there's one complaint, it's that Blake didn't do "The Baby", which is one of my favorites of his songs.

I'd say those attending the concert definitely got their money's worth; both in quality, and length. The concert had started at 7:30pm, and didn't end until after 11pm.

I'm fairly sure this post is a bit more rambling than it needs to be. I blame it on a lack of sleep. By the time the concert ended, and I made it home to bed, it was 1am, and I was up for work at 4am.

For anyone looking for a shorter version of what I thought of the concert that night, I'll leave you with the email I sent to Scott, Jolynn and Jake, Monday morning, after the show:

Dia Frampton--Great!
Justin Moore--Great!
Miranda Lambert--Cool!
Blake Shelton--AWESOME!!!
Three hours of sleep--WORTH IT!

Review--"Four the Record"--Miranda Lambert

(Today's word will be in ALL CAPS, BOLD, ITALIC, and STRIKETHROUGH.)

Miranda Lambert has come a long way since placing third on the first season of Nashville Star in 2003. Since then, she's scored a number of hits on country radio, released three CD's, dated and married fellow country artist, Blake Shelton. On November 1, 2011, Miranda released her fourth CD, aptly titled, "Four the Record".

While Miranda does write a lot of her own songs, she didn't write all the tunes on "Four the Record". Even the songs not written by her however sound like they could have been. A good example is "Mama's Broken Heart".

The song tells the story of a girl who's been dumped by her man, and has gone a bit over the edge. Her mama tells her she can't behave that way, she has her reputation to think of.

Another song not penned by Miranda is "All Kinds of Kinds". It's an uptempo tune telling of the world being made up of, and needing all kinds of people.

"Baggage Claim" is the current song on radio, and was written by Miranda. It's a great tune about breaking up with a guy, because of all the "baggage" from his past, and hers. With her unique voice, music and delivery of rocking songs, Miranda's style could best be described as QUIRKY

"Four the Record" also has it's share of slower, quiet songs. None of them seem to really shine in comparison to the more lively music on this CD however.

Two exceptions are "Dear Diamond", and "Better in the Long Run". The first song alludes to a woman who's cheated on her man. The second, a duet with husband, Blake Shelton, is about a couple whose relationship has come undone.

One song that stood out is "Fine Tune". The entire song is done like it's being sung through a megaphone, or coming across an old radio; lots of static and echoing. It's alright for a bit, but four plus minutes of listening to it gets to be irritating.

The rest of the songs on this CD are your average Miranda Lambert music. Nothing that really stands up and says take notice, yet still very good in their own right.

"Four the Record" may not have something for everyone, though Miranda Lambert fans, and those who like their music a little left of center, should enjoy this CD.