2012 Album of the Year – Kellie Pickler’s “100 Proof”
The name of this website evokes many different thoughts from many different people. Every day I wake up and try to live up and do right by the Saving Country Music name. Sometimes I succeed, sometimes I fail. And I go into this announcement fully knowing that to some this will be final tipping point where Saving Country Music lost its way; the day I named a former American Idol contestant’s record the Album of the Year.
What we have with Kellie Pickler is one of the most unique situations that has ever dawned in country music. Most of what this website labors at is trying to elevate artists we deem worthy to the same level of recognition and benefits that Kellie Pickler has enjoyed during her mainstream career. But in the case of Kellie Pickler and 100 Proof, Kellie did something quite remarkable. She decided that by her own hand, she would rather relinquish the spoils of her American Idol past and her major label endorsement than to continue living a lie through her music. Of course Kellie would have loved to have it both ways, but she decided she would rather make music that was true to her heart and take the risk of losing it all than continuing to play the part.
It’s not that Saving Country Music is reaching above its head to the mainstream to make this pronouncement, it’s that Kellie Pickler decided to descend the ladder–the same ladder that dozens upon dozens of artists labor to climb every single day–on her way to reclaiming the right to be herself again. 100 Proof cost Kellie Pickler her major label deal with Sony, and afforded her one of the purest forms of ultimate human redemption. If you ask me, she got a bargain.
Kellie Pickler and 100 Proof represent the very fabric of the idea that Saving Country Music was founded upon: that artists should have control of their music, and that nearly all the other problems that beset country music cascade from that root issue.
And Kellie Pickler’s defiant, inspiring acts of wisdom don’t stop there. She famously shaved her head in September in a symbol of solidarity with a childhood friend who was suffering from Cancer. Then she dyed her short hair pink. Then she cut her hair again right before November’s CMA Awards. And where did Kellie spend her holidays? On her 6th USO tour, taking her to 4 different countries in 7 days to entertain the troops. Just like giving up her major label deal to win her artistic freedom, Kellie has relinquished her time and her beauty (though I’d say she’s pretty fetching bald too) to champion causes she believes in.
But the Saving Country Music Album of the Year is not a humanitarian award. It is not given away for doing inspiring acts. It’s all about the music. And when you clean the slate and forget all the back story about 100 Proof, what you’re still left with is one of the most traditional country records released in the mainstream in years, yet still with wide accessibility and fresh appeal. I could bore you with all the critic speak and platitudes, and if you’re in the mood for that you can read my review of 100 Proof. But the most important thing is 100 Proof passes the listening test. It’s just both a fun and touching record to listen to.
The other day when I was solidifying my decision in my head, it finally dawned on my why 100 Proof is so appealing. It is because it touches on every major point of human emotion: love, hate, jealousy, frustration, freedom, depression, nostalgia, yet it never seems to touch on the same emotion twice, keeping the album fresh throughout. You’re always enjoying the song you’re listening to while craving the next one coming.
This album is too big to be taken in a yearly context, or to only be listened to from the perspective of a current ear. 100 Proof is one of those timeless records, destined to grow in stature and sweetness with age. I know that some folks have sniffed at this album and deemed it too polished, too produced-sounding to their ears. I feel very confident in saying that time will be very kind to 100 Proof. Even if you don’t like this album now, you will in the future. Trust me, you will.
Sony won the battle. But Kellie Pickler and 100 Proof won the the war. And country music is better off for it.
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100 Proof was also named the best country album of 2012 by The Rolling Stone.
And congratulations to all of the candidates for the 2012 Saving Country Music Album of the Year. In a year this strong, simply being named a candidate was as good as a win any other year. Eric Strickland’s Honky Tonk Till I Die was 2012’s biggest surprise, and The Bloody Jug Band’s Coffin Up Blood was the most creative effort put out in 2012.
Preview & Purchase Tracks from 100 Proof
January 4, 2013 @ 10:37 am
didn’t expect you to pick this album but i did give it a listen since i find kellie’s voice very sexy.
January 5, 2013 @ 2:39 pm
thats the best article ytat has been written. the best album kellie has ever done 100 proof. the best tradtiinal country album of 2012!
January 4, 2013 @ 11:00 am
Best album to come from the mainstream country establishment in many years. It cost her her deal but she got another one right away. Hoping she continues on this path going foward. We will see. Indeed her voice and the of her are very sexy indeed.
January 4, 2013 @ 11:42 am
good choice my friend
January 5, 2013 @ 9:02 am
Nope your album is way more Honky Tonk than this album would ever be. Your music is all about the low down working man, drinking all the whiskey he can to hide the pain of his loss potential love. What country music always been about. You lived the hard struggling life as a person and a musician which is reflected in your music. Not some rich prom queen upset about the stain on her skirt, that has to name drop Tammy Wynette to sound country. That’s like saying some rich suburban kid writes better blues than some depression era old black man who never owned anything. Blues is about the blues and for people who understand the blues.
January 5, 2013 @ 10:29 am
“Not some rich prom queen upset about the stain on her skirt”
That’s a reduction. You don’t know the life story of Kellie Pickler, and what struggles she may or may not have gone through in her life. Furthermore I think it is a dangerous path to say that certain people can and cannot make good music simply because of who they are. Yes, “cred” should have its place in music and country music specifically, but it shouldn’t be the only thing. It shouldn’t be about the “who,” it should be about the “what.” and I can’t think of a better example of why this is important than Kellie Pickler’s “100 Proof.”
http://en.wikipedia.org/wiki/Kellie_Pickler
“Her mother left when Kellie was 2. Her mother returned and took custody of Kellie for two years. After this, the court returned Kellie to her grandparents when she was 12, as her father was in and out of jail during her childhood. From this age to adulthood, she was raised by her grandparents.
Another interesting fact, both Kellie Pickler and Eric Strickland are from rural North Carolina, a couple of hours from each other.
January 4, 2013 @ 11:45 am
I didn’t see this coming, but great choice. Honestly I was hoping Dierks Bentley would have done the same thing last year with his Up On the Ridge album, but then he comes back with more garbage.
January 4, 2013 @ 12:04 pm
Don’t think you lost your way at all, and am glad to see a Pickler’s album named. This is not my favorite of the year, but it is a solid country album that has the potential to draw pop fans over to a more traditional sound. Hubbard’s would probably be my top, but I think Pickler’s is just as traditional country, if not moreso, since he leans toward blues.
More generally, I have liked seeing a slight mellowing of the Triggerman in the last year toward NAshville and NPR. I agree with those who prefer to see less pop coverage here, but appreciate your commitment to listen before judging. I increasingly think that the kneejerk anti-Nashville attitude which creeps into the comments, your writing, or my own thoughts really does not serve traditional country well. More thoughtful criticism does. In addiiton, the most strident “traditionalist” voices in fact are ofeten underground/cowpunk fans who really don’t listen to much traditional country beyond a few key artists. Country has always been a big camp. (That said, I still snicker now and then at then bashing, with the exception of the muted homophobia and misogyny I see in comments about Luke Bryant’s gender and sexuality. I really am tired of that. And I HATE the term douche.)
January 4, 2013 @ 6:23 pm
We need a new term to replace “douche.” I’m utterly sick of it myself, despite the fact that my blog is basically about finding new and creative ways to call people names.
January 4, 2013 @ 12:26 pm
emfrank said “with the exception of the muted homophobia and misogyny I see in comments about Luke Bryant”™s gender and sexuality. I really am tired of that.”
ME TOO, Trigger, you hear that? How about in 2013, no more homophobia/misogyny on this site. You named a female artist as album of the year, even, so it’s sad when you use femininity and being “feminine” as an insult. You’re insulting all the women who read this site, and all the people who are gay. Traditional gender roles are boring and harmful anyway. Men & women should be able to act however they want, who cares?
January 4, 2013 @ 12:48 pm
My off-color Luke Bryan comments are not meant to be an insult to being feminine, they are simply meant to be funny. But I hear what you’re saying. Here’s to dialing it back a bit in 2013, unless I just can’t help myself.;)
January 4, 2013 @ 8:27 pm
Also, I’m not sure what I did against NPR, but I’ve always been a supporter of NPR, and I link to many of their music stories and such in the news stream. In the past I’ve espoused that they have led to some artists and albums pandering to their demographic of rich white people by “softening” roots music or by adding political subjects, but I don’t know if this is NPR’s fault or the artists. I also talk about the “NPR crowd” but I think at this point NPR’s listenership is a pretty well-recognized demographic. I still have some issues with the way NPR does some business, but that goes for just about anyone. You can criticize something and still be a supporter of it. Criticizing something can also show that you care about it and want it to be better.
January 5, 2013 @ 1:53 pm
I think these comments reflect some of what I was getting at. I don’t see you bashing NPR itself, but do think the generalizations about “liberals” or “NPR types” (and not necessarily by you, Trigger) are counterproductive, as are generalizations about any group of people. The roots/traditional country/ Americana scene is small enough without encouraging divisions. I think you have tried to do that less in the last year, and I appreciate it. As you suggest above “cred” should have more to with the music than personal history, particularly with the idea that true country artists need to be hard living outlaws. For one thing, it ignores the fact that a lot of life-long country fans, like my elderly mom, are middle-class, farm-raised church folks who don”™t drink or cuss. (Her brother, though”¦)
I do see the potential danger that country might become gentrified, as happened with jazz and, to a lesser degree, with blues and folk, but I don”™t think it is automatic. Articulating what is being lost is more helpful than posturing about “us” and “them.” And, for the record, most people in my circle listen to NPR. They tend to be educated, but none are wealthy and most have service jobs (teaching, non-profits, churches which are not padding the pastor”™s pocket.) Some are from working class or farming backgrounds, others are connected in one way or another to that life because they have made intentional choices not to be disconnected.
January 5, 2013 @ 9:14 am
I love that you can say whatever the fuck you want on your site without some liberal controlling atmosphere telling you what you can and not say. What they want to do take your guns away next. Be offended when one of your favorite musicians talks about smoking. They will take your right to smoke away any way they could. This is your website, say what the fuck you want to what ever homosexual douche bag there is out there. Call me a gay douche. My feeling wont get hurt, ill hit it right back at you. Many people who listen to country music love the freedom of the artist who say whatever the hell they want without the liberal controlling media telling them what or what they cannot do. If people want censored unoffensive speech. Then they should go to SavingHipsterMusic.com instead. I hope my mere presence offends them all.
January 5, 2013 @ 11:43 am
Fuckin hippies!
January 4, 2013 @ 6:29 pm
smh…
January 4, 2013 @ 9:54 pm
No, please, no. I’m cool with the name change but I can’t handle a watered down version of the triggerman.
January 4, 2013 @ 2:00 pm
Excellent choice. I was quite upset at how this album got shortchanged in the CMA’s. Do you happen to know who controls the right to release singles? Is it Kellie or is it Sony? I hope it’s not too late to get more songs from the album out into radio.
January 4, 2013 @ 8:31 pm
It’s the label, specifically A&R people whose job is to listen for songs they believe will be successful on radio and promote them to the format. Artists rarely have say so in what songs get released as singles, especially in country music. The reason not all songs on an album are released as singles is because labels want to use the limited attention they get from radio on songs they believe will be hits. If they release too many singles from one country artist, they may compete with singles from another artist.
January 4, 2013 @ 9:05 pm
There is a problem here with excessive horizontal integration in the music industry. When a label is too large and includes too many artists, then the label can single-handedly decide how the artists are ranked commercially. This is the case with single releases, and as you have mentioned previously, with ACM block voting as well.
The consolidation of the music industry is partly due to the consolidation and horizontal integration in radio. The sweetheart deals between large radio conglomerates and large corporate labels are the key hindrance to commercial success for artists on small labels or artists from large labels who are not favored by their labels.
I think the following steps could solve much of these issues:
1) FCC anti-trust regulation against radio consolidation
2) updated regulation of deals between radio companies and labels (the “payola” regulations date back to the 1950s and are outdated against increasingly sophisticated deal tactics; information on this can be found on this article: http://blog.tunecore.com/2011/09/how-to-get-your-song-on-commercial-radio.html)
3) new anti-trust regulation against labels?
All of these should come in addition to regulations on contracts between labels and artists, requiring labels to give artists more control over their own work (including a say in when songs are released to radio, for example). Unionization of artists could also help significantly.
If an artist’s songs are not played on the radio, then he/she has fundamentally been deprived of an equal opportunity to showcase his/her talents to the general public. The status quo, therefore, must be changed.
January 4, 2013 @ 2:23 pm
Great choice. I know this album is dead as fas any radio play, but I hope to hear more of the same from her.
And to you people bitching and moaning about the Luke Bryan jokes, grow a pair.
January 4, 2013 @ 5:37 pm
Sweet baby jesus, can’t believe this was picked as record of the year. I gave it a listen after the raving from this site earlier and just didn’t find it worth listening too many times after.
But if this is some kind of trick to get other mainstream country artists to cut traditional records I like the pick!
January 4, 2013 @ 8:32 pm
Nothing up my sleeves.
January 4, 2013 @ 6:24 pm
Excellent choice.
This was the album that surprised me the most out of everything I listened to all year. If you didn’t know who it was and was trying to guess on any given song who it was, you might’ve guessed it was one of the ladies of country from days gone by. Each song was that good, that real, and she delivered great performances on all of them. I went into Trigger’s original review of this album full of skepticism, thinking he’d lost his mind, and then I listened to the album and my mind wasn’t changed, it was blown.
I’d have put it in my top 3 “new to me” albums I heard for the first time this year, after Bloody Jug Band’s “Coffin Up Blood” and The New Black’s “Better In Black”. Considering I listened to over a hundred albums for the first time this year (some dating back quite a bit, some brand new) in every genre but pop, that’s saying something.
Kellie’s on to something here. I hope she continues to deliver art like this for years to come, because I’ll be first in line to buy.
January 4, 2013 @ 6:41 pm
pick seems real contrived yo. there were way better country records this year that are far more deserving. Dwight Yoakam and James Hand just to name two examples…
January 4, 2013 @ 8:48 pm
The reason James Hand’s albums and songs did not make any of my end-of-year lists is because I had a part (however small) in the production of the album and so I have recused myself from offering any criticism on it. Obviously I still support it and think it’s a great album, and I was honored to be a part of the process, but that’s the reason it is nowhere in these lists.
As for Dwight Yoakam, except for the song “A Heart Like Mine” I’ve found it difficult to get too much deeper into “3 Pears”. I don’t think it was written and produced to Dwight’s strengths, but I don’t think it’s a bad album by any stretch and wouldn’t disagree with anyone who says it’s their favorite this year. I love Dwight, but I don’t want to do the musical equivalent of cheering for laundry. I still have to hear it, and on “3 Pears” I hear an albums trying to be current instead of trying to be Dwight.
January 4, 2013 @ 9:20 pm
love that James Hand record…forgot you had something to do with that. thats my pick for what it’s worth.
January 4, 2013 @ 10:15 pm
Excellent choice! 100 Proof is the album full of great songs, and Kellie is the best vocalist of the nominees. In fact she’s been robbed of ACM and CMA top female vocalist nominations for about 4 years now due to lack of full label support/promotion, getting robbed at radio, and awards vote politics. And clearly this album was robbed of ACM, CMA, and Grammy song and album of the year nominations, which are also based mostly on radio airplay.
Also, this album brings mainstream and non-mainstream fans together, just like this website is doing and maybe better than any other. It’s a shame radio didn’t play it to further that cause.
January 4, 2013 @ 10:41 pm
Absolutely 100% agree. I would never have listened to this album without your review. Now it is my favorite fall back whenever I am not sure what to listen to, I think, well guess I’ll listen to Kellie. It has variety, sincerity, and straight to the heart truth with a good time band and a straight forward sound. You get a standing ovation for picking this one. Thank you Trigger for your commitment to the truth.
January 5, 2013 @ 1:27 am
great choice!! the only album i might have picked instead is iris dements new album but i havnt bought it yet (flat broke till my next paycheck).
January 5, 2013 @ 8:53 am
Good choice if it was a 1993 CMT Garth Brooks era album. With all the pure country underdogs like Eric Strickland’s “Honky Tonk TIll I die” album, that came out this year that screams of pure country, I am shocked that this got the album of the year. Its like if the pop industry throws us a bone we have to go scavenge for it. Corb Lumd new album is not just hilarious and work of a struggling man it is like pure country rockabilly gold. If you are about the purity of old, the old country heroes do it better, Don Williams and Willie Nelson. If it is a female artists Lindi Ortega wrote music for the underdog whose talent can surprise any country fan. Beautiful voice, beautiful instruments mixed with a beautiful drunken sad stories. She didnt even have to name drop Tammy Wynette to show her pure Honky Tonk sound. Havent listen to Joe Buck’s album before but I heard it was amazing too. Dam this list can go on and on. But like everyone said before James Hand should of been nominated too. 10 times more country than Kellie Pickbooger’s album. That guy is a dugged up old country legend hijacked from the past.
January 5, 2013 @ 10:40 am
As I’ve said before, the reason the James Hand album was not considered is because I had a hand in it, and I really wish people would respect that decision as opposed to holding it over my head.
Mentioning Garth Brooks is apropos, because I think this anti-Kellie Pickler sentiment speaks to why perspectives must evolve over time, and if they don’t, how they can have damaging effects. This is one of the problems at the heart of the dissension of “underground roots” music. 1993 Garth Brooks would never make it on country radio today, he’s too traditional. And “100 Proof” is more traditional than that. If you are hung up on where or who this album came from, then these are prejudices that stand in the way of having the most fulfilling musical experience possible.
January 5, 2013 @ 5:17 pm
Well, I am sure if I look at your archives from years back I bet I could find quite a few statements that can be seen only as anti-Kellie Pickler arguments against her during her American Idol rise to the so called country stardom. But your attacks weren’t against her personally (even though you probably made fun of her with name calling) but her music that she was playing. I am doing the same here. I agree its more traditional than her pop stuff but I dont find it anywhere the same caliber as the other candidates.
If her living close to Eric Strickland means she is similar caliber, last I heard its difficult for him to get a gig in his area cause everyone wants to listen to pop country or rap in his area. I just helped a little redneck kid (small town texas) next door to my parents today. He told me he loved traditional country. I Introduced him to Bob Wayne and Hellbound Glory and he was blown away. I gave him this website to research to spread to all his little high school friends. He was so delighted. Then if you met practically any girl in our little town my age and bellow they only listen to pop country or rap. My point is just cause your from same area these days don’t make your roots truly into that pure Honky Tonk sound.
I don’t mean to be an ass (well kind of) but I just felt that this album was picked more cause a pop country artist attempted to do a more traditional sound rather than be the best of all the big dogs. And also I am not gonna argue about grammar errors or logical fallacies. That strays away from the content in hand. Im not a English major or a Logician. Just a drunk who loves the music and surprise I still can type a sentence. fsdfnasdasdas,df,f ……oops nevermind
January 5, 2013 @ 6:08 pm
Actually, Trigger’s first article about Kellie Pickler was the 100 Proof review. Before then, the only articles where he even mentioned Kellie’s name were in the “third for a word” piece (and only indirectly there, quoting a news article that referenced her) and in an article from 2008 where he named all of the mainstream country artists that Hank 3 beat in album sales with his first week sales of Damn Right Rebel Proud.
January 5, 2013 @ 7:43 pm
Eric, I don’t always agree with ya man, but your comments are always well thought-out, and if you’re arguing or debating, you often seem to do research and back it up with facts. I respect you for that.
January 5, 2013 @ 7:49 pm
Thank you very much, Matt!
January 6, 2013 @ 11:12 pm
Yet in that article he was condemning all those pop artists for what they were and properly praising Hank 3’s Honky Tonk triumph. It was a powerful rebuttal and a bold position and it proves my point. But ya if Kellie was more famous than Taylor Swift she would of been the brunt of his pop country jokes and name calling. (The artist formerly known as Trigger Man) smacks down on Taylor Swift more cause of her overwhelming popularity hype that suppose to represent modern country music. Maybe I am wrong and yall right and she is legit now. We will see with her next album. Would it be purely country or pop fluff like before. If she makes more country music I will revoke what I say. For now I still say, James Hand, Corb Lund, Eric Strickland, Lindi Ortega, ect ect, are way more deserving and Kellie’s new album is a decent attempt at her country roots.
February 11, 2013 @ 6:18 am
Regarding Kellie’s next album and pure country vs. pop, see my comment a little further down. I’m expecting the next one to be even more traditional. It appears the new label will support that direction whereas she had to fight with the former label. Before 100 Proof came out she answered a question at the Opry by saying something to the effect: ‘I’m making it as country as they will let me — if you know what I mean.’
January 6, 2013 @ 12:18 am
“Its not the strongest species that survive, or the smartest, but the one that adapts better to change. — Charles Darwin
January 6, 2013 @ 11:22 pm
And that’s the argument all these so called educated females tell me everywhere I go about why am I still listening to traditional music. “Music has evolved, you need to change” they say. I rather be a lone crusty old caveman listening to my Hank Williams, than a metrosexual hipster listening to Bruno Mars and Taylor Swift. I rather not let the world change me but change the world. With the advent of modern man. Man manipulates evolution.
January 7, 2013 @ 4:14 pm
Luke Bryan looooves change!
January 5, 2013 @ 8:40 pm
Yay! My favorite country album released last year! I love Kellie; she’s so sweet and I hope she continues to go in this direction with her music.
February 10, 2013 @ 10:25 pm
Some who have followed Kellie’s career closely since American Idol did so in the belief that 100 Proof is the direction Kellie always wanted to venture. We were willing to wait and watch her evolve until she got the chance to go that way.
In interviews and just listening to Kellie talk during and after her shows, it was easy to see that she is drawn to even more traditional material. A friend gave her a 45 RPM record of Pistol Packin’ Mama by Al Dexter after a show last year as Kellie talked with fans and gave autographs. She then sang a few verses of Pistol Packin’ Mama and it was easy to tell the gift truly touched her.
Kellie told us that she would love to do an album of songs from that era, but not only those that made it as hits. She said there were a lot of B-sides that were great, but didn’t make it big. She later tweeted asking for people’s old favorites.
Some are surprised at Kellie’s change in direction with this album when it is really a return to her true path. It seems she just had to take a detour as she learned about the industry and what she needed to do to be true to herself.