Grammy nominations announced
It is a good thing that Grammy and Dove nominations are not announced on a daily basis, for if they were, I would surely be scratching my head so much that I would have to find a toupee. The Grammy nominations were announced yesterday; the nominees in the best Southern/Country/Bluegrass Gospel album were:
- Times Like These, Austins Bridge
- The Reason, Diamond Rio
- Expecting Good Things, Jeff and Sheri Easter
- Journey On, Ty Herndon
- Live at Oak Tree, Karen Peck and New River
Of the three Southern Gospel nominees, the Easter nomination makes the most sense; though they’re not necessarily among Southern Gospel’s three most prominent groups, they’re high profile enough for the nomination to be reasonable—especially since it’s a well-executed and well-promoted mainline release with a compelling backstory.
The first time Karen Peck and New River picked up a Grammy nomination, some wondered if they had a Grammy-level high profile within the genre. Few would raise that question now that this is their third; here, it’s the project nominated that is odd. Live at Oak Tree is a video/CD recorded in a recording studio; unlike a mainline release debuting radio hits and concert favorites, here, the group sang songs made familiar by previous recordings. Though promoted as a peek inside the studio, the format is that of a live concert with the studio as the venue. So while it’s no particular surprise to see the group pick up a nomination, it’s odd that this particular recording would be nominated.
The most peculiar nomination of the three, and probably of the whole list, is the Austins Bridge album. The group never made significant inroads into Southern Gospel, and by some accounts disbanded some months ago; their website is still public, but an empty tour schedule lends credence to those accounts. So even if the nomination was to go to another artist on the same label, the Booth Brothers’ landmark recording Declaration would have led a list of several far more obvious picks.
All in all, this list reinforces the common assumption that the Grammy voting base appears to have little knowledge of our genre.