2012 CMA Nominations

They’re out!  What are your thoughts on this year’s CMA nominations?  Discuss in the comments section.

Entertainer of the Year 

Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift

Female Vocalist of the Year

Kelly Clarkson
Miranda Lambert
Martina McBride
Taylor Swift
Carrie Underwood

Male Vocalist of the Year

Jason Aldean
Luke Bryan
Eric Church
Blake Shelton
Keith Urban

Vocal Group of the Year

The Band Perry
Eli Young Band
Lady Antebellum
Little Big Town
Zac Brown Band

Vocal Duo of the Year

Big & Rich
Love and Theft
Sugarland
The Civil Wars
Thompson Square

New Artist of the Year

Lee Brice
Brantley Gilbert
Hunter Hayes
Love and Theft
Thompson Square

Album of the Year (Awarded to artist and producer)

Luke Bryan, Tailgates and Tanlines – Produced by Jeff Stevens and Mark Bright

Eric Church, Chief – Produced by Jay Joyce

Miranda Lambert, Four the Record – Produced by Frank Liddell, Chuck Ainlay, and Glenn Worf

Dierks Bentley, Home – Produced by Brett Beavers, Luke Wooten, and Jon Randall Stewart

Lady Antebellum, Own the Night  – Produced by Paul Worley and Lady Antebellum

Song of the Year (Awarded to songwriters)

Eli Young Band, “Even if It Breaks Your Heart” – Will Hoge and Eric Paslay

Blake Shelton, “God Gave Me You” – Dave Barnes

Dierks Bentley, “Home” – Dierks Bentley, Dan Wilson and Brett Beavers

Miranda Lambert, “Over You” – Miranda Lambert and Blake Shelton

Eric Church, “Springsteen” – Eric Church, Jeff Hyde and Ryan Tyndell

Single of the Year (Awarded to artist and producer)

Jason Aldean, “Dirt Road Anthem” – Produced by Michael Knox

Blake Shelton, “God Gave Me You” – Produced by Scott Hendricks

Dierks Bentley, “Home” – Produced by Brett Beavers and Luke Wooten

Little Big Town, “Pontoon” – Produced by Jay Joyce

Eric Church, “Springsteen” – Produced by Jay Joyce

Musical Event of the Year

“Dixie Highway,” Alan Jackson and Zac Brown Band

“Feel Like a Rock Star,” Kenny Chesney and Tim McGraw

“Roll Me Up and Smoke Me When I Die,” Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson

“Safe and Sound,” Taylor Swift featuring the Civil Wars

“Stuck on You,” Lionel Richie and Darius Rucker

Music Video of the Year (Awarded to artist and director)

Eric Church, “Springsteen” – Directed by Peter Zavadil

Kenny Chesney, “Come Over” – Directed by Shaun Silva

Miranda Lambert, “Over You” – Directed by Trey Fanjoy

Little Big Town, “Pontoon” – Directed by Declan Whitebloom

Toby Keith, “Red Solo Cup” – Directed by Michael Salomon

Musician of the Year

Sam Bush
Paul Franklin
Dann Huff
Brent Mason
Mac McAnally

 

Taylor Swift – “We Are Never Ever Getting Back Together”

Songwriters:  Taylor Swift, Max Martin, Johan Shellback

McKayla Maroney says this better than I could:

By now it should hardly come as a surprise that Taylor Swift’s songs sound pop, but it’s easy to be almost taken aback by how fiercely un-country this song is, banjo in the country mix notwithstanding.  As a pop song, it could be worse – at least in terms of structure.  It boasts a sparse production and a strong melodic hook that makes a memorable impression, particularly in the chorus.  It will fit in comfortably on Top 40 playlists between toe-tapping hits by Katy Perry and Hot Chelle Rae.

There’s just no way around the fact that this is a huge step backward for Swift in terms of lyrical construction.  This song could be seen as everything Taylor Swift’s detractors detest about her wrapped up into a neat little package, with the juvenile aspect of her persona being played up to the point that it borders on self-parody.  While the “What!?” hook sounds cute at first, the “ooh ooh oohs” and the snipey spoken word portions are grating upon arrival.  As a whole, the lyric is one-dimensional, unimaginative, and – while I hate to use everbody’s favorite Swift perjorative – yes, this is very immature.  Swift has done this kind of song many times before, and she’s done it with much more perspective, insight, and cleverness than she shows here.  Considering she’s getting into her twenties now, it would be nice to see some forward artistic progression.

There are things that “Never Ever” gets right, but they’re not enough to offset all that it gets wrong.  While there’s a potentially good catchy pop song buried in here somewhere, it ultimately ends up getting smothered in cheese.  If this represents the direction of Swift’s upcoming album Red, then perhaps we would be better off joining Swift’s ex in listening to “some indie record that’s much cooler than mine.”

TAYLOR’S SCORE:  4
(Scores are given on a scale of 1 to 10)

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