Hello,
I hope your holidays are wonderful! Now all that's left is New Year's, and I hope that you have a marvellous one of those as well.
Now's the time for the promised CMA recap, as I do annually. The show was actually really cool, and I made smores in my college kitchen microwave to accompany my watching. Fun, fun. It opened with a rocking number from Carrie Underwood's new CD, Play On, the song "Songs Like This." Accompanying her on their amazing guitars were none other than (guess who?) Brad Paisley and Keith Urban. The next performance was Rascal Flatts, with their "Why Wait," which is a song that will forever be accompanied by shots of Las Vegas for me, a la their music video in the style of the Hangover. Not that I've seen that film, but...I have seen the video often enough. Next up was Blake Shelton, with "All About Tonight." The song didn't really leave all that great an impression on me, so we're moving on. Following her fiance was Miranda Lambert, with what was at one point my favourite song from Revolution, "That's the Way that the World Goes 'Round." She's stunning, and that performance was amazing, too. If anyone deserves the accolades s/he receives, it's her. Mr. George Strait had the next performance, with "The Breath You Take," a beautiful song delivered with that touch of gentle passion that he exudes, convincing me enough to go and buy the song on iTunes. The last time a song at the CMAs did that, I fell in love with Taylor Swift, who performed later in the show (coming up soon). After George Strait sang the Zac Brown Band; their major hit featuring Alan Jackson, "As She's Walking Away" is as beautiful live as it is on repeat on one's iPod. Take it from someone who knows this. As it was November, it seemed fitting that "The Boys of Fall" came after that, with Kenny Chesney performing the song that used to make me cry so hard. It didn't then, because I was excited that it was the CMAs again. Following that up was the aforementioned Taylor Swift, whose album had come out a mere two weeks earlier. She sang, "Back to December," accompanied by the mandatory snowflakes and an exquisite live orchestra; she played the piano in a stunning white dress, and the full-bodied string orchestra behind her added such incredible depth to the song that it was the best rendition of it that I've yet heard. Eat your heart out. Next up was the unpredictable duo, Sugarland, with their catchy single, "Stuck Like Glue." Usually unconventional, Jennifer Nettles and Kristian Bush had their set resemble a jewelry box, with Jennifer the ballerina. It was pretty astounding. Keith Urban followed, with his new single, "Put You in a Song," probably the most infectious song I've heard in a while. I like to dance to it... After him was Reba, who put her own spin on the Beyonce classic, "If I Were a Boy." It works much better as a country song, I have to say, despite my quite apparent bias. Unlikely duo Jason Aldean and Kelly Clarkson performed their major hit "Don't You Wanna Stay," and it was only the beginning of their incredible commercial success with it. I wouldn't have said that would happen, but the song really is tremendous. The drumbeats, the piano...wow. Impressive. The only thing I would critique is her choice of attire; I don't think the navy blue long-sleeved dress quite flattered her. But seriously, if the only thing I can find that I don't like is the dress (and I with no fashion sense in the least!), then you know it's a powerful song. Then was Kid Rock with "Born Free," followed by a new Brad Paisley song, "This is Country Music." The latter song stopped me dead in my tracks with the very first line ("you're not supposed to say the word 'cancer' in a song") and captivated me throughout. He's done it again. Lady Antebellum followed with "Hello World," a song I used to kind of like but now have heard far too often to ever want to hear it again. Incredible newcomers The Band Perry were next, with their heart-wrenching, "If I Die Young," a song I've grown to absolutely love, heart and soul. Carrie Underwood came back onstage, flaunting her disgustingly enormous diamond ring, with "Mama's Song." After this was Dierks Bentley, starting "Up On the Ridge" with his band all around one microphone a cappella. It was very evocative. The penultimate song was a tribute to Loretta Lynn and her classic, "Coal Miner's Daughter," sung by Loretta, Miranda Lambert, and Sheryl Crow. Closing out the show was Gwyneth Paltrow with Vince Gill and "Country Strong," the eponymous song from her new film. I think Miranda's expression, before she realised that the camera was on her, said it all.
Here is a recap of the awards:
Musician of the Year - Mac McAnally (no surprise, this guy has a record or something)
Musical Event of the Year - "Hillbilly Bone," Blake Shelton featuring Trace Adkins
Music Video of the Year - "The House That Built Me," Miranda Lambert
Song of the Year - "The House That Built Me," Miranda Lambert
Album of the Year - Revolution, Miranda Lambert
Single of the Year - "Need You Now," Lady Antebellum
Vocal Duo of the Year - Sugarland (because NO one saw that coming)
Vocal Group of the Year - Lady Antebellum
New Artist of the Year - Zac Brown Band (again, no surprise)
Male Vocalist of the Year - Blake Shelton (!)
Female Vocalist of the Year - Miranda Lambert
Entertainer of the Year - Brad Paisley (finally!!)
It really was Miranda's year. She's phenomenal.
This song requires no explanation, so I will not be providing one for you. Beyond this: It's sort of my own (very) private "Dear John." Have fun.
You Had Me
You had me at, "Hello, my name is Scott,"
I had so many dreams, but a nightmare is all that I got
when you had me playing a part in your fantasy world
but I was only an easily-misled little girl
every light faded and I developed a fear of the dark
the monsters all came, but it was you who tore me apart
CHORUS:
you had me crawling on the floor for you
while you fed on my weakness, thinking that would make you strong
I wished desperately for the passage of time, but it never flew
so from the start it felt already like you had me far too long
you had me for a single fall
but now I'm starting to wonder how you had me at all
it's surreal how a dozen red roses turned my life around
I was flying high but you soon introduced me to the ground
now you're the reason I don't ever look in the mirror
'cause even when you're gone, your reverberations continue to linger
you took everything I had in the time from October to March
leaving me as nothing but the victim of your deformed little heart
CHORUS:
you had me crawling on the floor for you
while you fed on my weakness, thinking that would make you strong
I wished desperately for the passage of time, but it never flew
so from the start, it felt already like you had me far too long
you had me for a single fall
but now I'm starting to wonder how you had me at all
BRIDGE:
I learned quick after the first couple days
that you are a hypocrite in every way
'cause you were delighted whenever I cried
and you burned with jealousy when it was my time to shine
you were good at pretending that I was so lucky
but you took me for granted every second that you had me
I could get used to your temper, but I don't think I could get used to your fist
it got harder and harder to explain away your undone lies and those familiar broken promises
CHORUS:
'cause you had me crawling on the floor for you
while you fed on my weakness, thinking that would make you strong
I wished desperately for the passage of time, but it never flew
so from the start it felt already like you had me far too long
you had me for a single fall
but now I'm starting to wonder how you had me at all
you had me for a single fall
but now I'm starting to wonder why you had me at all
now I'm better off, though you might not be
than I was during the time that you had me
Much love, and thank you for the musik!
Just Another Ordinary Girl
All the girls that you've run dry have tired, lifeless eyes, 'cause you've burned them out. But I took your matches before fire could catch me, so don't look now: I'm shining like fireworks over your sad, empty town.
