Illustration by Arthur Rackham of the ballad The Twa Corbies

A ballad is a form of verse, often a narrative set to music. Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century and used extensively across Europe and later the Americas, Australia and North Africa. Many ballads were written and sold as single sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century it took on the meaning of a slow form of popular love song and the term is now often used as synonymous with any love song, particularly the pop or rock power ballad.

Origins[link]

The ballad probably derives its name from medieval French dance songs or "ballares" (from which we also get ballet), as did the alternative rival form that became the French Ballade. In theme and function they may originate from Scandinavian and Germanic traditions of storytelling that can be seen in poems such as Beowulf.^[1] The earliest example we have of a recognisable ballad in form in England is ‘Judas’ in a 13th-century manuscript.^[2]

Ballad form[link]

Most northern and west European ballads are written in ballad stanzas or quatrains (four-line stanzas) of alternating lines of iambic (an unstressed followed by a stressed syllable) tetrameter (eight syllables) and iambic trimeter (six syllables), known as ballad meter. Usually, only the second and fourth line of a quatrain are rhymed (in the scheme a, b, c, b), which has been taken to suggest that, originally, ballads consisted of couplets (two lines) of rhymed verse, each of 14 syllables.^[3] As can be seen in this stanza from ‘Lord Thomas and Fair Annet’:

The horse| fair Ann|et rode| upon|
He amb|led like| the wind|,
With sil|ver he| was shod| before,
With burn|ing gold| behind|.^[1]

However, there is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. In southern and eastern Europe, and in countries that derive their tradition from them, ballad structure differs significantly, like Spanish romanceros, which are octosyllabic and use consonance rather than rhyme.^[4]

In all traditions most ballads are narrative in nature, with a self-contained story, often concise and relying on imagery, rather than description, which can be tragic, historical, romantic or comic.^[3] Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas.^[1]

Composition[link]

Scholars of ballads are often divided into two camps, the ‘communalists’ who, following the line established by the German scholar Johann Gottfried Herder (1744–1803) and the Brothers Grimm, argue that ballads arose by a combined communal effort and did not have a single author, and ‘individualists’, following the thinking of English collector Cecil Sharp, who assert that there was a single original author.^[2] The communalist position tends to lead to the view that more recent, particularly printed broadside ballads, where we may even know the author, are a debased form of the genre. The individualists position has tended to lead to the view that later changes in the words of ballads are corruptions of an original text.^[5] More recently scholars have pointed to the interchange of oral and written forms of the ballad.^[6]

Classification[link]

Illustration by Arthur Rackham to Young Bekie.

European Ballads have been generally classified into three major groups: traditional, broadside and literary. In America a distinction is drawn between ballads that are versions of European, particularly British and Irish songs, and 'native American ballads', developed without reference to earlier songs. A further development was the evolution of the blues ballad, which mixed the genre with Afro-American music. For the late 19th century the music publishing industry found a market for what are often termed sentimental ballads, and these are the origin of the modern use of the term ballad to mean a slow love song.

Traditional ballads[link]

The traditional, classical or popular (meaning of the people) ballad has been seen as originating with the wandering minstrels of late medieval Europe.^[1] From the end of the 15th century we have printed ballads that suggest a rich tradition of popular music. We know from a reference in William Langland's Piers Plowman, that ballads about Robin Hood were being sung from at least the late 14th century and the oldest detailed material we have is Wynkyn de Worde's collection of Robin Hood ballads printed about 1495.^[7]

Early collections of English ballads were made by Samuel Pepys (1633–1703) and in the Roxburghe Ballads collected by Robert Harley, 1st Earl of Oxford and Mortimer (1661–1724).^[7] In the 18th century there were increasing numbers of such collections, including Thomas D'Urfey's Wit and Mirth: or, Pills to Purge Melancholy (1719–20) and Bishop Thomas Percy's Reliques of Ancient English Poetry (1765).^[7] The last of these also contained some oral material and by the end of the 18th century this was becoming increasingly common, with collections including John Ritson's, The Bishopric Garland (1784), which paralleled the work of figures like Robert Burns and Walter Scott in Scotland.^[7]

Key work on the traditional ballad was undertaken in the late 19th century in Denmark by Svend Grundtvig and for England and Scotland by the Harvard professor Francis James Child.^[2] They attempted to record and classify all the known ballads and variants in their chosen regions. Since Child died before writing a commentary on his work it is uncertain exactly how and why he differentiated the 305 ballads printed that would be published as The English and Scottish Popular Ballads.^[8] There have been many different and contradictory attempts to classify traditional ballads by theme, but commonly identified types are the religious, supernatural, tragic, love ballads, historic, legendary and humorous.^[1]

Broadsides[link]

An 18th-century broadside ballad: The tragical ballad: or, the lady who fell in love with her serving-man.

Broadside ballads (also known as 'roadsheet’, ‘stall’, ‘vulgar’ or ‘come all ye’ ballads) were a product of the development of cheap print in the 16th century. They were generally printed on one side of a medium to large sheet of poor quality paper. In their heyday of the first half of the 17th century, they were printed in black-letter or gothic type and included multiple, eye-catching illustrations, a popular tune tile, as well as an alluring poem.^[9] By the 18th century, they were printed in white letter or roman type and often without much decoration (as well as tune title). These later sheets could include many individual songs, which would be cut apart and sold individually as "slipsongs." Alternatively, they might be folded to make small cheap books or "chapbooks" which often drew on ballad stories.^[10] They were produced in huge numbers, with over 400,000 being sold in England annually by the 1660s.^[11] Tessa Watt estimates the number of copies sold may have been in the millions.^[12] Many were sold by travelling chapmen in city streets or at fairs.^[13] The subject matter varied from what has been defined as the traditional ballad, although many traditional ballads were printed as broadsides. Among the topics were love, religion, drinking-songs, legends, and early journalism, which included disasters, political events and signs, wonders and prodigies.^[14]

Literary ballads[link]

Literary or lyrical ballads grew out of an increasing interest in the ballad form among social elites and intellectuals, particularly in the Romantic movement from the later 18th century. Respected literary figures like Robert Burns and Sir Walter Scott in Scotland both collected and wrote their own ballads, using the form to create an artistic product. Similarly in England William Wordsworth and Samuel Taylor Coleridge produced a collection of Lyrical Ballads in 1798, including Coleridge’s ‘The Rime of the Ancient Mariner’. At the same time in Germany Goethe cooperated with Schiller on a series of ballads, some of which were later set to music by Schubert.^[15] Later important examples of the poetic form included Rudyard Kipling’s ‘Barrack Room Ballads’ (1892-6) and Oscar Wilde’s ‘Ballad of Reading Gaol’ (1897).^[16]

Ballad operas[link]

Painting based on The Beggar's Opera, Act III Scene 2, William Hogarth, c. 1728

In the 18th century ballad operas developed as a form of English stage entertainment, partly in opposition to the Italian domination of the London operatic scene.^[17] It consisted of racy and often satirical spoken (English) dialogue, interspersed with songs that are deliberately kept very short to minimize disruptions to the flow of the story. Subject matter involved the lower, often criminal, orders, and typically showed a suspension (or inversion) of the high moral values of the Italian opera of the period. The first, most important and successful was The Beggar's Opera of 1728, with a libretto by John Gay and music arranged by John Christopher Pepusch, both of whom probably influenced by Parisian vaudeville and the burlesques and musical plays of Thomas D'Urfey (1653–1723), a number of whose collected ballads they used in their work.^[18] Gay produced further works in this style, including a sequel under the title Polly. Henry Fielding, Colley Cibber, Arne, Dibdin, Arnold, Shield, Jackson of Exeter, Hook and many others produced ballad operas that enjoyed great popularity.^[19] Ballad opera was attempted in America and Prussia. Later it moved into a more pastoral form, like Isaac Bickerstaffe's Love in a Village (1763) and Shield’s Rosina (1781), using more original music that imitated, rather than reproduced, existing ballads. Although the form declined in popularity towards the end of the 18th century its influence can be seen in light operas like that of Gilbert and Sullivan's early works like The Sorcerer.^[20] In the 20th century, one of the most influential plays, Kurt Weill and Bertolt Brecht's (1928) The Threepenny Opera was a reworking of The Beggar's Opera, setting a similar story with the same characters, and containing much of the same satirical bite, but only using one tune from the original.^[21] The term ballad opera has also been used to describe musicals using folk music, such as The Martins and the Coys in 1944, and Peter Bellamy's The Transports in 1977.^[22] The satiric elements of ballad opera can be seen in some modern musicals such as Chicago and Cabaret.^[23]

Beyond Europe[link]

Native American ballads[link]

Statue of John Henry outside the town of Talcott in Summers County, West Virginia

Native American ballads are ballads that are native to North America (not to be confused with ballads performed by native Americans).^[24] Some 300 ballads sung in North America have been identified as having origins in British traditional or broadside ballads.^[24] Examples include ‘The Streets of Laredo’, which was found in Britain and Ireland as ‘The Unfortunate Rake’; however, a further 400 have been identified as originating in North America, including among the best known, ‘The Ballad of Davy Crockett' and 'Jesse James'.^[24] They became an increasing area of interest for scholars in the 19th century and most were recorded or catalogued by George Malcolm Laws, although some have since been found to have British origins and additional songs have since been collected.^[24] They are usually considered closest in form to British broadside ballads and in terms of style are largely indistinguishable, however, they demonstrate a particular concern with occupations, journalistic style and often lack the ribaldry of British broadside ballads.^[6]

Blues ballads[link]

The blues ballad has been seen as a fusion of Anglo-American and Afro-American styles of music from the 19th century. Blues ballads tend to deal with active protagonists, often anti-heroes, resisting adversity and authority, but frequently lacking a strong narrative and emphasising character instead.^[24] They were often accompanied by banjo and guitar which followed the blues musical format.^[6] The most famous blues ballads include those about John Henry and Casey Jones.^[24]

Bush ballads[link]

Cover to Banjo Paterson's seminal 1905 collection of bush ballads, entitled The Old Bush Songs

The ballad was taken to Australia by early settlers from Britain and Ireland and gained particular foothold in the rural outback. The rhyming songs, poems and tales written in the form of ballads often relate to the itinerant and rebellious spirit of Australia in The Bush, and the authors and performers are often referred to as bush bards.^[25] The 19th century was the golden age of bush ballads. Several collectors have catalogued the songs including John Meredith whose recording in the 1950s became the basis of the collection in the National Library of Australia.^[25] The songs tell personal stories of life in the wide open country of Australia. Typical subjects include mining, raising and droving cattle, sheep shearing, wanderings, war stories, the 1891 Australian shearers' strike, class conflicts between the landless working class and the squatters (landowners), and outlaws such as Ned Kelly, as well as love interests and more modern fare such as trucking.^[26] The most famous bush ballad is "Waltzing Matilda", which has been called "the unofficial national anthem of Australia".^[27]

Sentimental ballads[link]

Now the most commonly understood meaning of the term ballad, sentimental ballads, sometimes called "tear-jerkers" or "drawing-room ballads" owing to their popularity with the middle classes, had their origins in the early ‘Tin Pan Alley’ music industry of the later 19th century. They were generally sentimental, narrative, strophic songs published separately or as part of an opera (descendants perhaps of broadside ballads, but with printed music, and usually newly composed. Such songs include "Little Rosewood Casket" (1870), "After the Ball" (1892) and "Danny Boy".^[24] By the Victorian era, ballad had come to mean any sentimental popular song, especially so-called "royalty ballads", which publishers would pay popular singers to perform in Britain and the United States in "ballad concerts." Some of Stephen Foster's songs exemplify this genre.^[28] By the 1920s, composers of Tin Pan Alley and Broadway used ballad to signify a slow, sentimental tune or love song, often written in a fairly standardized form (see below). Jazz musicians sometimes broaden the term still further to embrace all slow-tempo pieces.^[29]

Jazz, blues and traditional pop[link]

As new genres of music, such as ragtime, blues and jazz, began to emerge in the early 20th century the popularity of the genre faded, but the association with sentimentality led to the term ballad being used for a slow love song from the 1950s onwards.^[24] Most pop standard and jazz ballads are built from a single, introductory verse; usually around 16 bars in length, and ending on the dominant; the chorus or refrain, usually it is 16 or 32 bars long, and in AABA form (though other forms such as ABAC are not uncommon). In AABA forms, the B section is usually referred to as the bridge; often a brief coda, sometimes based on material from the bridge, was added as in "Over the Rainbow".^[30] Other key traditional pop and jazz ballads include: "Body and Soul" by Johnny Green; "Misty" by Erroll Garner; "The Man I Love" by George Gershwin; "My Funny Valentine" by Rodgers and Hart, "God Bless the Child" by Billie Holiday, "Ev'ry Time We Say Goodbye" by Cole Porter, the instrumental ballad "Naima" by John Coltrane, "In a Sentimental Mood" by Duke Ellington and "Always" by Irving Berlin.^[31]

Pop and rock ballads[link]

To emphasize the emotional aspect of a power ballad, crowds customarily hold up lit lighters.^[32][33]

The most common use of the term ballad in modern pop music is for an emotional love song.^[34] When the word ballad appears in the title of a song, as for example in The Beatles's "The Ballad of John and Yoko" or Billy Joel's "The Ballad of Billy the Kid", the folk-music sense is generally implied. Ballad is also sometimes applied to strophic story-songs more generally, such as Don McLean's "American Pie".^[35]

Power ballads[link]

Simon Frith identifies the origins of the power ballad in the emotional singing of soul artists, particularly Ray Charles and the adaptation of this style by figures such as Eric Burdon, Tom Jones and Joe Cocker to produce slow tempo songs often building to a loud and emotive chorus backed by drums, electric guitars and sometimes choirs.^[36] According to Charles Aaron, power ballads came into existence in the early 1970s, when rock stars attempted to convey profound messages to audiences.^[37] He argues that the power ballad broke into the mainstream of American consciousness in 1976 as FM radio gave a new lease of life to earlier songs like Led Zeppelin's "Stairway to Heaven" (1971), Aerosmith's "Dream On" (1973), and Lynyrd Skynyrd's "Free Bird" (1974).^[37] Other notable examples include Nazareth's version of "Love Hurts" (1975), Foreigner's "I Want to Know What Love Is"^[36] and Scorpions "Still Loving You" (both 1984), Heart's "What About Love" (1985),^[38] and Whitesnake's "Is This Love" (1987).^[39]

See also[link]

Wikimedia Commons has media related to: Ballads

• Border ballads
• Corrido — a form of ballad originating in northern Mexico and the U.S. Southwest
• Graves, Alfred Perceval
• List of the Child Ballads
• List of folk song collections
• List of Irish ballads
• List of rock ballads
• Murder ballad
• Roud Folk Song Index
• Song structure (popular music)
• Torch song

Notes[link]

References and further reading[link]

• Middleton, Richard. "Popular Music (I)". Grove Music Online ed. L. Macy (subscription required). Accessed 2007-04-06.
• Randel, Don (1986). The New Harvard Dictionary of Music. Cambridge: Harvard University Press. ISBN 0-674-61525-5.
• Temperley, Nicholas. "Ballad (II, 2)". Grove Music Online ed. L. Macy (subscription required). Accessed 2007-04-06.
• Witmer, Robert. "Ballad (jazz)". Grove Music Online ed. L. Macy (subscription required). Accessed 2007-04-06.
• Marcello Sorce Keller, "Sul castel di mirabel: Life of a Ballad in Oral Tradition and Choral Practice", Ethnomusicology, XXX(1986), no. 3, 449- 469.

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (May 2011)

Wikiquote has a collection of quotations related to: Ballads

• The Ballad Society of Japan
• The British Literary Ballads Archive
• The Bodleian Library Ballad Collection: view facsimiles of printed ballads
• The English Broadside Ballad Archive: searchable database of ballad images, citations, and recordings
• Welsh Ballads Website
• The Traditional Ballad Index
• Black-letter Broadside Ballads Of The years 1595-1639 From the Collection of Samuel Pepys
• Smithsonian Global Sound: The Music of Poetry — audio samples of poems, hymns and songs in ballad meter.
• The Oxford Book of Ballads, complete 1910 book by Arthur Quiller-Couch
• Great Rock Ballads
• Jazz and Vocal Ballads
• English Broadside Ballad Archive -- an archive of images and recordings of over 4,000 pre-1700 broadside ballads

Chasey Lain
Born	(1971-12-07) December 7, 1971 (age 40) Cocoa Beach, Florida, U.S.
Ethnicity	Caucasian
Height	5 ft 6 in (1.68 m)
Weight	114 lb (52 kg; 8.1 st)
No. of adult films	92 (per IAFD)
Website
http://www.perfectchasey.com/

Chasey Lain (born December 7, 1971 in Cocoa Beach, Florida) is an American pornographic actress. She became a stripper as a young adult, and later pursued a career in California as an adult film actress. Lain was on AVN magazine's list of top 50 porn stars of all time in 2002.

Early life[link]

Lain was born in Cocoa Beach, Florida and grew up in Newport, NC (Carteret County, NC).

Career[link]

Lain acted in her first adult film in 1991. The movie was titled Wild at Heart (not to be confused with the 1990 David Lynch film by the same name). In 1993, Lain did her first hardcore movie, The Original Wicked Woman, for Wicked Pictures, famous as the first adult video to document a breast enhancement, before and after.^[1] In 1994, she became a contract actress for Vivid Entertainment, where she gained her major success with titles like Chasey Loves Rocco and Chasey Saves the World. In 1997 she appeared in Orgazmo, a non-pornographic mainstream movie directed by Trey Parker. She had her own line of lesbian videos, the Chasin' Pink series.^[1] In 2002, she filmed her last film with Vivid Entertainment, Chasin' Pink 6, and took a break from the industry.

In 2004, after 2 years on hiatus, Lain returned to adult films. Her first film upon return was titled Chasey's Back. Chasey went on to perform in her first interracial scene with Mr. Marcus in Black in White 2 in 2005.

On February 10, 2007, Chasey Lain launched a new company, "Forbidden Cinema", to produce Chasey Reloaded.^[2]

Mainstream appearances[link]

• 1995 Tales from the Crypt's Demon Knight
• 1997 Trey Parker's Orgazmo
• 1998 Spike Lee's He Got Game
• 2003 Evil Breed: The Legend of Samhain

In popular culture[link]

In 1999, the band Bloodhound Gang released a song entitled "The Ballad of Chasey Lain" about an obsessive stalker of Lain who writes her a series of sexually explicit letters.

References[link]

External links[link]

• Chasey Lain at the Internet Movie Database
• Chasey Lain at the Adult Film Database
• Internet Adult Film Database
• Official MySpace

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2011)

Barry Sadler
250px Sadler on the cover of the Ballad of the Green Berets LP.
Born	November 1, 1940 (1940-11) Carlsbad, New Mexico, United States
Died	November 5, 1989 (1989-11-06) (aged 49) Murfreesboro, Tennessee, United States
Allegiance	United States
Service/branch	US Air Force US Army
Years of service	1957 - 1966
Rank	Staff Sergeant
Unit	Special Forces
Battles/wars	Vietnam War

Barry Sadler (November 1, 1940 – November 5, 1989) was an American soldier, author and musician. Sadler served as a Green Beret medic with the rank of Staff Sergeant in the U.S. Army during the Vietnam War. Most of his work has a military theme, and he billed himself as SSG Barry Sadler (although his label credits read SSgt Barry Sadler).

Background[link]

Sadler was born in Carlsbad, New Mexico, the second son of John Sadler and Bebe Littlefield of Phoenix, Arizona. His parents were both professional gamblers, and the family moved often. His parents divorced when Sadler was very young, and his father died not long after of a rare form of nervous system cancer at the age 36. His mother took her sons with her as she worked at temporary jobs in Arizona, California, Colorado, New Mexico, and Texas. According to Sadler's autobiography, "I'm a Lucky One," his father developed a successful plumbing and electrical business in Carlsbad, NM. He also owned several farms in the area. He describes his mother as managing restaurants and bars, and at times games in casinos.

Military service[link]

Enlistment[link]

Sadler dropped out of high school in Leadville, Colorado in the tenth grade. After a year of hitchhiking across the country, he enlisted at age 17 in the U.S. Air Force. He was trained as a radar technician and was stationed in Japan. At the end of his four year tour of duty, Sadler enlisted in the Army, seeking more excitement.

Wounded in action[link]

Following his airborne training, Sadler volunteered for the US Army's elite Special Forces and passed the difficult selections tests. Following lengthy training as a combat medic at Fort Sam Houston, Texas, he was sent to South Vietnam. In May 1965, while on a combat patrol in the Central Highlands southeast of Pleiku, he was severely wounded in the knee by a feces-covered punji stick. He was already taking an antibiotic for dysentery, and no ill effects from the punji stick were seen. He used a cotton swab and an adhesive bandage, then finished the patrol. However, he developed a serious infection in his leg, and was flown to Walter Reed Hospital in the United States. Sadler's doctors were forced to surgically enlarge the wound to drain it and to administer penicillin. While he was recuperating, he heard Senator Robert F. Kennedy dedicate the new JFK Center for Special Warfare at Fort Bragg. Sadler promised himself that if he successfully fought off the infection, he would give away the rights to his song "The Ballad of the Green Berets." He recovered completely and kept his promise.

The Ballad Of The Green Berets[link]

Sadler recorded his now-famous song, "The Ballad Of The Green Berets," a patriotic song in ballad style. The recording was encouraged by writer Robin Moore, author of the novel The Green Berets. The book became a 1968 movie, The Green Berets, starring John Wayne, with "The Ballad of the Green Berets" arranged in a choral version by Ken Darby as the title song of the film. Moore wrote an introduction to Sadler's autobiography, I'm a Lucky One, which he dictated to Tom Mahoney and which Macmillan published in 1967. "The Ballad of the Green Berets" was picked up by the RCA Victor Records label in early 1966 and became a fast-selling single, reaching No. 1 on the Billboard Hot 100 chart for five consecutive weeks from March 5 to April 2, 1966. It sold over one million copies, and was awarded a gold disc.^[1] The song was a big hit in many U.S. cities; it spent five weeks at No. 1 on the weekly Good Guys music survey at WMCA, the top pop music radio station in New York in 1966. He sang it for his television debut on The Jimmy Dean Show. Sadler recorded an album of similarly themed songs which he titled Ballads of the Green Berets. It sold a million copies in the first five weeks of its release.^[1]

Awards and decorations[link]

According to the ribbons and badges worn by Sadler in a televised performance of "The Ballad of the Green Berets," he received the following awards for his military service: Air Force Good Conduct Medal, Air Force Longevity Service Award, Purple Heart Medal, Army Good Conduct Medal, Armed Forces Expeditionary Medal, Combat Infantryman Badge, Parachutist Badge, and possibly the South Vietnamese Parachutist Badge.^[2]

Later years[link]

Literary works[link]

Unable to score another major hit, although "The A-Team " was a Top 30 Billboard chart single in 1966, Sadler took to writing books. He chose to write about soldiers, but his series of novels took a turn far different from his music. His "Casca" series centers on the title character, Casca Rufio Longinius (a sort of combination of Saint Longinus and The Wandering Jew), who stabbed Christ during the crucifixion, and is cursed to remain a soldier eternally till the Second Coming. The series of novels takes Casca through to the 20th century. Sadler himself wrote only the first few, with the remainder of the original 22 books being farmed out by the publishers to other writers and issued under his name. Subsequent books have been written by different authors.

• List Of Works In The Casca Novel Series

Lee Emerson Bellamy[link]

This unreferenced section requires citations to ensure verifiability.

On December 1, 1978 at around 11pm, Sadler killed country songwriter Lee Emerson Bellamy with one gunshot to the head. The shooting was the culmination of a month's long dispute the men had over Darlene Sharp, who was Bellamy's former girlfriend, and Sadler's girlfriend at the time. Bellamy was not pleased by her involvement with Sadler. Witnesses gave testimony that prior to the shooting, Bellamy made many harassing phone calls to Sadler, and numerous threats on his life.

On the night in question, Bellamy made several harassing phone calls, including one to the Natchez Trace Restaurant, where Sadler and Sharp were having dinner and drinks with several friends. That led to Sadler asking the bartender to call the police, who never responded. Bellamy later followed the group to Sharp's residence and knocked on the door. Sadler exited a side door to try to catch him in the act, and upon seeing Sadler, Bellamy proceeded to aggressively approach him. It was at this point, Sadler testified, that he saw a flash of metal. Thinking this was a gun, he discharged his weapon once. Bellamy was struck in the head and died the following morning. It was later shown that Bellamy was unarmed, and that the flash of metal was likely from his car keys. After the shooting, according to court records on the case, Sadler then placed a handgun into Bellamy's van. This may have been to strengthen his case for self defense, which initially, is what Sadler claimed. This was later changed to a plea of guilty.

On June 1, 1979 Sadler was convicted of voluntary manslaughter in the death of Lee Emerson Bellamy, and sentenced to 4–5 years in prison. Upon appeal, due to the circumstances of the case, his sentence was reduced to the 21 days already served in a Tennessee workhouse. Sadler was later sued for wrongful death by Bellamy's estate, and was ordered to pay restitution of around $10,000.

Death[link]

Sadler moved to Guatemala City in the mid 1980s and often hung out at a bar/restaurant called La Europa (also known as Freddie's Bar for the German proprietor). He continued to publish the Casca books (mostly using various ghostwriters), produced a self-defense video (which was never released) and even helped with vaccination programs in rural villages.

It was in Guatemala City that he was shot in the head one night in a taxi. He was airlifted to the U.S. by friends from Soldier Of Fortune Magazine, where he was hospitalized and remained in a coma for several months. He died little more than a year later in the Alvin C. York Medical Center in Murfreesboro, Tennessee. The circumstances involving his shooting remain a mystery. It has been variously claimed that he committed suicide, that he shot himself accidentally while showing off to a female companion, and that he was assassinated for allegedly training and arming the Contras. The most common story identifies the incident as a robbery. According to his companion at the time, he had been training Nicaraguan counter-revolutionaries and had received death threats.

Popular culture[link]

In Mitchell Freedman's alternative history novel A Disturbance of Fate (ISBN 1931643229), Barry Sadler becomes president in 1984 after serving two terms as governor of Arizona. In Freedman's scenario, Sadler carries out the agenda pursued by Ronald Reagan of promoting pro-business policies and personnel into federal posts. His use of the military promotes a second Civil War in 1986 (which Freedman's characters refer to as "the Great Struggle") which leads to the defeat of the forces under President Sadler's control. Sadler himself is captured in the novel after a failed suicide attempt and dies in 1991 of a heart attack while in solitary confinement.

The second verse of the Simon and Garfunkel song "A Simple Desultory Philippic" contains the line, "I've been Lou Adlered, Barry Sadlered."

Discography[link]

Albums[link]

Singles[link]

References[link]

External links[link]

• Official site
• Official Casca website
• Barry Sadler at the Internet Movie Database
• Barry Sadler at the Internet Speculative Fiction Database
• Barry Sadler at Allmusic
• Obituary
• Findagrave

Brad Paisley
Brad Paisley performing on August 19, 2007
Background information
Birth name	Brad Douglas Paisley
Born	(1972-10-28) October 28, 1972 (age 39)
Origin	Glen Dale, West Virginia, United States
Genres	Country, Country Rock
Occupations	Singer-songwriter, musician
Instruments	Vocals, guitar, mandolin
Years active	1997–present
Labels	Arista Nashville
Associated acts	Alison Krauss, Dolly Parton, Carrie Underwood, Keith Urban, Martina McBride, Chely Wright, Scotty McCreery
Website	BradPaisley.com

Brad Douglas Paisley (born October 28, 1972) is an American singer-songwriter and musician. His style crosses between traditional country music and Southern rock, and his songs are frequently laced with humor and pop culture references.

Paisley was the 2008 CMA and ACM Male Vocalist of the Year winner. Starting with the release of his 1999 album Who Needs Pictures, Paisley has recorded seven studio albums and a Christmas compilation on the Arista Nashville label, with all of his albums certified gold or higher by the RIAA.^[1] In addition, he has charted 25 singles on the U.S. Billboard Hot Country Songs chart, 16 of which have reached #1 with a record 10 consecutive singles reaching the top spot on the chart.^[2] On November 10, 2010, Paisley won the Entertainer of the Year award at the 44th annual CMA Awards.^[3]

Biography[link]

Paisley was born on October 28, 1972 in Glen Dale, West Virginia to Douglas Edward "Doug" Paisley, who worked for the West Virginia Department of Transportation, and Sandra Jean "Sandy" (née Jarvis) Paisley, a teacher.^[4] He was raised in Glen Dale, West Virginia. He has stated that his love of country music stems from his maternal grandfather, Warren Jarvis, who gave Paisley his first guitar, a Sears Danelectro Silvertone^[5] at 8-years-old and taught him how to play. At age 10, he performed for the first time in public by singing in his church. He later recalled that, "Pretty soon, I was performing at every Christmas party and Mother's Day event. The neat thing about a small town is that when you want to be an artist, by golly, they'll make you one".^[5] At age 12, Paisley wrote his first song, entitled, "Born on Christmas Day".^[5] He had been taking lessons with local guitarist Clarence "Hank" Goddard.^[5] By age 13, Goddard and Paisley formed a band called "Brad Paisley and the C-Notes", with the addition of two of Paisley's adult friends.^[5]

While in junior high, his principal heard him perform "Born On Christmas Day" and invited him to play at the local Rotary Club meeting. In attendance was Tom Miller, the program director of a radio station in Wheeling, West Virginia. Miller asked him if he would like to be a guest on Jamboree USA. After his first performance, he was asked to become a member of the show's weekly lineup. For the next eight years, he opened for country singers such as The Judds, Ricky Skaggs and George Jones. He would become the youngest person inducted into the Jamboree USA Hall of Fame. He also performed at the Jamboree in the Hills.^[6]

Paisley graduated from John Marshall High School in Glen Dale, West Virginia in 1991,^[7] studied for 2 years at West Liberty University (WV) and later was awarded a full-paid ASCAP scholarship to Belmont University, in Nashville, Tennessee (from 1993 to 1995). He interned at ASCAP, Atlantic Records, and the Fitzgerald-Hartley management firm. While in college, he met Frank Rogers, a fellow student who went on to serve as his producer. Paisley also met Kelley Lovelace, who became his songwriting partner. He also met Chris DuBois in college, and he too would write songs for him.^[6]

After graduating from Belmont with a Bachelor's degree in music business, within a week Paisley signed a songwriting contract with EMI Music Publishing;^[6] and, he wrote David Kersh's "Top 5" hit, "Another You", as well as David Ball's 1999 single, "Watching My Baby Not Come Back." The latter song was also co-written by Ball.^[8]

[edit] 1999–2001: Who Needs Pictures

His debut as a singer was with the label Arista Nashville, with the song "Who Needs Pictures" (released February 22, 1999). In May of that same year, he made his first appearance on the Grand Ole Opry.^[1] Seven months later he had his first #1 hit with "He Didn't Have to Be," which detailed the story of Paisley's frequent co-writer Kelley Lovelace and Lovelace's stepson, McCain Merren.^[9] We Danced also was a hit for Paisley off the debut album, reaching #1 on the U.S. Billboard Hot Country Singles & Tracks chart. By February 2001, the album was certified platinum.^[10]

In 2000, Paisley's mainstream notoriety received a huge boost when he was exposed to his first national non-country music oriented audience on the TLC special, "Route 66: Main Street America." Producer, Todd Baker, tapped the young musician to appear on this show when he was a relative unknown outside the world of country music. It featured Paisley and band doing rare live and acoustic versions of Route 66. The international and home video versions of this program end with a full, un-cut acoustic rendition of the piece, which was performed live on Rainbow Bridge in Riverton, KS.^[11] The show accurately predicted that Paisley would become a legendary musician, and also featured blues artist, Buddy Guy.^[12]

Later in 2000, Paisley won the Country Music Association's (CMA) Horizon Award and the Academy of Country Music's best new male vocalist trophy. He received his first Grammy Award nomination a year later for Best New Artist. On February 17, 2001, Paisley was inducted into the Grand Ole Opry^[1] He was 28 when he accepted the invitation, and was the youngest member ever to join. PBS did a 75th anniversary concert special, which saw Paisley pair up with Chely Wright and sing a song called Hard to Be a Husband, Hard to Be a Wife, and would be included on the album Backstage at the Opry, It would get a CMA nomination for Vocal Event of the Year.^[13]

[edit] 2001–2003: Part II

In 2002, he won the CMA Music Video of the Year for "I'm Gonna Miss Her (The Fishin' Song)." Several celebrities made notable guest appearances in the video, including Little Jimmy Dickens, Kimberly Williams, Dan Patrick, and Jerry Springer. His three other singles off the Part II album, "I Wish You'd Stay", "Wrapped Around", and "Two People Fell in Love", all charted in the top 10. The album stayed in the charts for more than 70 weeks and was certified platinum in August 2002. To support his album, he toured the country as the opening act for Lonestar.^[14]

[edit] 2003–2005: Mud on the Tires

Paisley released his third album, Mud on the Tires (2003), following Who Needs Pictures and Part II. The album features the hit song "Celebrity", the video of which parodies reality shows such as Fear Factor, American Idol, The Bachelorette and According to Jim, and included such celebrities as Jason Alexander, James Belushi, Little Jimmy Dickens, Trista Rehn and William Shatner. (Paisley later contributed to Shatner's album Has Been.) The album's title track, "Mud on the Tires", reached Billboard #1 in 2004.^[15]

In addition, the ninth track from Mud on the Tires, "Whiskey Lullaby", a duet with Alison Krauss reached #3 on the Billboard Hot Country Singles & Tracks (now Hot Country Songs) charts, and #41 on the Billboard Hot 100. The music video for Whiskey Lullaby also won several awards and was rated #2 on the 100 Greatest Music Videos by CMT in 2008. The album would be certified double platinum.^[14]

[edit] 2005–2007: Time Well Wasted

In 2005, after touring with Reba McEntire and Terri Clark on the "Two Hats and a Redhead Tour," he released Time Well Wasted, containing 15 tracks. This album includes "Alcohol," two duets — "When I Get Where I'm Going" with Dolly Parton and "Out in the Parking Lot" with Alan Jackson — and a bonus track, "Cornography." On November 6, 2006, the album "Time Well Wasted" won the Country Music Association CMA Award for Best Album. "Time Well Wasted" also won album of the year at the 2006 ACM Awards.

Paisley also contributed two original songs to the Disney film Cars. These can be found on the film's soundtrack. This was in recognition of his contribution to the "Route 66: Main Street America" television special.

At the 2006 Grammy Awards, Paisley received four nominations: Best Country Album (for Time Well Wasted), Best Country Song (for "Alcohol"), Best Country Instrumental (for "Time Warp") and Best Country Vocal, Male (for "Alcohol").

[edit] 2007–2008: 5th Gear

Paisley's fifth studio album, 5th Gear, was released in the United States on June 19, 2007. The first four singles from the album, "Ticks", "Online", "Letter to Me", and "I'm Still a Guy", all reached number one on the country music single charts, making seven straight number one hits for Paisley."^[16] "Online" featured the Brentwood High School marching band playing toward the end of the song, a cameo by Jason Alexander, and again featured a cameo by William Shatner. Throttleneck would also reach number one, which would get Paisley his first Grammy.^[17]

The fifth single from 5th Gear actually came from a reissued version of the album – a new recording of "Waitin' on a Woman", a track cut from Time Well Wasted. The reissued version received unsolicited airplay in late 2006, and features less prominent string guitar and violin parts and a more "muted" musical tone. For the chart week of September 20, 2008, the song became Paisley's twelfth number-one single and his eighth straight number-one hit, making him the artist with the most consecutive Number One country hits since the inception of Nielsen SoundScan in 1990.^[18]

In July 2006, producer Todd Baker tapped Brad for a television appearance as an animated character in The Wonder Pets, Daddy Armadillo. The yet-to-be-broadcast episode features Brad's wife, Kimberly Williams, as Mama Armadillo.

Paisley toured April 26, 2007 through February 24, 2008 in support of 5th Gear on the Bonfires & Amplifiers Tour. The tour visited 94 cities over a 10 month period and played for over 1,000,000 fans. The tour was so successful that it was extended past its original end date to February 2008. Some of the opening acts who appeared during the tour were Taylor Swift, Kellie Pickler, Jack Ingram, Rodney Atkins and Chuck Wicks.

Paisley was nominated for three 2008 Grammy Awards related to 5th Gear: Best Country Album (for 5th Gear), Best Country Collaboration (for "Oh Love" with Carrie Underwood), and Best Country Instrumental (for "Throttleneck"). On February 10, 2008, he won his first Grammy award for Best Country Instrumental for "Throttleneck".

In March 2008, Brad Paisley announced his next tour, "The Paisley Party," a 42-date tour sponsored by Hershey's. The tour kicked off on June 11, 2008, in Albuquerque, New Mexico with Chuck Wicks, Julianne Hough and Jewel as the opening acts.^[16]

[edit] 2008–2009: Play

A sixth, largely instrumental album, titled Play, was released on November 4, 2008.^[19] Brad Paisley and Keith Urban released to country radio their first duet together on September 8, 2008, "Start a Band." It was the first and only single from Play, and it went on to become Paisley's thirteenth number one hit and his ninth in a row. The album also features collaborations with James Burton, Little Jimmy Dickens, Vince Gill, John Jorgenson, B.B. King, Albert Lee, Brent Mason, Buck Owens, Redd Volkaert and Steve Wariner. Paisley and Urban both received Entertainer of the Year nominations from the CMA on September 10, 2008. On November 12, 2008 Brad Paisley won Male Vocalist of the Year and Music Video of the Year for "Waitin' on a Woman" during the CMA's.

[edit] 2009–2010: American Saturday Night

Brad Paisley performing at the White House.

Brad Paisley announced on January 26, 2009 his new tour named "American Saturday Night." Dierks Bentley and Jimmy Wayne will be opening in the majority of the shows. Brad Paisley's newest album, American Saturday Night was released on June 30, 2009. The album's lead off single, "Then" was released in March 2009 and performed for the first time on American Idol on March 18. It went on to become Paisley's 14th number one single and his tenth in a row.

On May 6, 2009, Paisley gave an exclusive performance^[20] to a small group of members from his fan club in Studio A of the Grand Ole Opry in Nashville, TN as he and his band taped an episode of CMT Invitation Only. The show gives fans a chance to see their favorite artists in a more intimate setting up close and personal. There was a Q & A session and interaction between Paisley and his fans. The show aired on Monday, August 3 at 9:00 p.m. on CMT.

On July 21, 2009, Paisley performed at the White House in celebration of country music. "Country Music at the White House " was streamed live on the White House web-site as well as a special on Great American Country.

On November 11, 2009, Paisley co-hosted the CMA Awards for the second straight year. He also performed "Welcome to the Future", and won both Male Vocalist of the Year and Musical Event of the Year for Start a Band with Keith Urban.

On March 1, 2010, Paisley was the first musical performance with "American Saturday Night" for the second tenure of the Tonight Show with Jay Leno.

On Friday March 5, 2010, Paisley slipped and fell performing his last song of the set, "Alcohol," at a concert at the North Charleston Coliseum in Charleston, South Carolina, on the final date of the American Saturday Night Tour. Fearing a broken rib, he was held overnight at an area hospital, but was released when a CT scan was negative.^[21]

On July 31, 2010 Brad performed alongside Carrie Underwood at the inaugural Greenbrier Classic PGA Tour Event in Lewisburg, W.Va. An estimated 60,000 people attended the outdoor event to watch Carrie and Brad perform in the pouring rain.

On August 4, 2010, it was announced on his official website that Paisley would release his first official greatest hits package, entitled Hits Alive. Released on November 2, 2010, Hits Alive is a double-disc collection, with one disc containing studio versions of Paisley's hit singles, while the companion disc features previously unreleased live versions of his songs.^[22]

Brad Paisley cohosted the 44th Annual CMA Awards on November 10, 2010, where he was also awarded the CMA's top award, Entertainer of the Year.^[23] During his acceptance speech, Paisley emotionally honored his grandfather, who inspired him to play the guitar.

In 2012, MSN.com listed American Saturday Night as one of the 21 Essential 21st-Century Albums.^[24]

[edit] 2011-present: This Is Country Music

In December 2010, Paisley released "This Is Country Music" as the title track to his eighth studio album, released May 23, 2011. The album's second single, "Old Alabama" (with Alabama), released to country radio on March 14, 2011 and became Paisley's nineteenth number one hit. "Remind Me," with Carrie Underwood, was released May 23, 2011 to radio.

On March 22, 2011, Paisley's website announced a new beta game titled "Brad Paisley World." The game is modeled after other Facebook games such as Farmville or Mafia Wars and features original animation. The game provides a new way for fans to interact with each other and view exclusive material that would otherwise be unavailable.

On May 12, 2011, Paisley's website announced that he would release two songs on the soundtrack for the film Cars 2. One of them would be a collaboration with British pop singer Robbie Williams.

On October 19, 2011, Paisley made a voice cameo as various background characters in the South Park episode "Bass to Mouth". ^[25]

On January 14, 2012, Paisley was a guest on Garrison Keillor's Prairie Home Companion, during which he did a rendition of "Life's Railway to Heaven" by Charles Davis Tillman.^[26]

Brad also tweeted that he has started recording his upcoming album.

On April 25, 2012, Paisley was featured on the South Park episode "Cartman Finds Love", in which he voiced himself,^[27] sang "The National Anthem", and helped Cartman sing the 90's hit song "I Swear", which was popularized in 1994 by the country musician John Michael Montgomery and the pop group All-4-One. ^[28]

Paisley extended his "Virtual Realty" tour throughout the summer of 2012. He will be touring the country and making pit stops at local country music festivals. The goal of these outdoor concerts is to give the audience the full experience of Brad Paisley's music, as many of his songs contain outdoor elements. ^[29]

Tours[link]

• Brooks & Dunn's Neon Circus & Wild West Show 2003
• Mud & Suds Tour 2004 (w/ Sara Evans, Andy Griggs)
• Two Hats & A Redhead Tour 2005 (w/ Reba McEntire, Terri Clark)
• Time Well Wasted Tour 2006 (w/ Sara Evans, Sugarland, Carrie Underwood, Jake Owen, Josh Turner, Billy Currington)
• Bonfires & Amplifiers Tour 2007–2008 (w/ Taylor Swift, Jack Ingram, Kellie Pickler, Rodney Atkins, Chuck Wicks)
• The Paisley Party Tour 2008 (w/ Chuck Wicks, Julianne Hough, Jewel)
• The Paisley Party Tour 2009 (w/ Dierks Bentley, Darius Rucker, Crystal Shawanda)
• American Saturday Night Tour 2009 (w/ Dierks Bentley, Jimmy Wayne)
• American Saturday Night Tour 2010 (w/ Miranda Lambert, Justin Moore)
• The H2O Tour 2010 (w/ Darius Rucker, Justin Moore, Easton Corbin, Steel Magnolia, Josh Thompson)
• The H2O Frozen Over Tour 2011 (w/ Darius Rucker, Jerrod Niemann)
• H2O II: Wetter and Wilder World Tour (w/ Darius Rucker, Blake Shelton, Jerrod Niemann, Sunny Sweeney, The JaneDear Girls, Brent Anderson, Edens Edge)
• Virtual Reality Tour 2012 (w/ The Band Perry, Scotty McCreery)

Band[link]

Paisley records his studio albums, in most part, with the backing of his live band, The Drama Kings. Their first gig together was May 7, 1999. The only changes have been Randel Currie's addition on the steel guitar in 2000 and Jimmy Heffernan's departure in 2001. Also, Jody Harris worked as Paisley's guitar tech until officially becoming a bandmember for the American Saturday Night Tour. As of 2010, the lineup is:

• Brad Paisley – lead vocals, lead guitar
• Gary Hooker – rhythm guitar
• Randle Currie – steel guitar
• Kendal Marcy – keyboards, banjo, mandolin
• Justin Williamson – fiddle, mandolin
• Kenny Lewis – bass guitar
• Ben Sesar – drums

Personal life[link]

Paisley performing in 2006.

Brad Paisley has been married to actress Kimberly Williams since 2003. Paisley had first seen Kimberley Williams in Father of the Bride with a former girlfriend. Brad and his former girlfriend broke up prior to the release of Father of the Bride Part II, which Brad went to see alone.^[30] Brad has stated that he watched Kimberly Williams' performance and thought "She seems like a great girl — smart and funny and all those things that are so hard to find."^[30]

Paisley and Williams began dating in 2001. In 2002, Williams appeared in a video for the song "I'm Gonna Miss Her (The Fishin' Song)," the last release from his Part II album. The two married on March 15, 2003, at Stauffer Chapel on the campus of Pepperdine University after a nine month engagement. They live in Franklin, Tennessee, and have another home in Malibu.

Paisley and Williams first son, William Huckleberry, or "Huck", was born on February 22, 2007, in Nashville, Tennessee.^[31] Their second son, Jasper Warren (named after his grandfather who bought Brad his first guitar), was born on April 17, 2009.^[32]

In the last months of 2000, Paisley had a relationship with fellow country music singer Chely Wright,^[33][34][35] even though Wright and her female lover had moved together into a new home earlier in the year. Wright was touring together with Paisley, with whom she had co-written one song the previous year, and he had been enamored of her ever since. Although she felt no sexual attraction to Paisley, as to all men,^[36][37] she recounts why Paisley was the man she decided to have a relationship with, "he’s wickedly smart, which is one of the reasons why I made the decision to spend time with him. I loved Brad. I never had the capacity to fall in love with him, but I figured if I’m gonna live a less than satisfied life, this is the guy I could live my life with. If I’m gonna be with a boy, this is the boy."^[38] Her actions were further fueled by the fact that she held him in high esteem and great affection in every way other than sexual attraction.^[36][39] In her autobiography she expresses remorse for how she treated him.^[40]

Paisley is a member of the Southern Jurisdiction of the Scottish Rite of Freemasonry,^[41] and a Noble of the AAONMS,^[42] also known as Shriners. He was accompanied by his father, Doug Paisley (32º), for the ceremony on October 28, 2006.^[41]

He is also a lifelong fan of the Cleveland Browns. Paisley sang the national anthem before a game during the 1999 season, and stated in an interview, with ESPN his dream job would be to play football for them.^[43] He also invited former Browns Quarterback Brady Quinn to a concert at the Blossom Music Center, in 2008.^[44]

Paisley is also a fan of West Virginia University athletics and the Boston Red Sox.^[45]

In late 2009, it was announced in Variety that Paisley would enter the world of scripted television as an executive producer of a new hour-long drama series for The CW network called, appropriately, Nashville.^[46] The plot was written and created by Neal Dodson and actor Matt Bomer. The creator of the series One Tree Hill, Mark Schwahn will direct the pilot and oversee the series. Actor Zachary Quinto is also an executive producer on the series, along with Dodson, Bomer, and Corey Moosa.^[47] The pilot was not picked up for a series when The CW's fall schedule was announced in May 2010.

Gear[link]

Paisley's first guitar, a gift from his grandfather, was a Silvertone Danelectro 1451, which came with a "amp-in-case".^[48] His next guitar, which he got at the age of 10 or 11, also from his grandfather, was a Sekova copy of a Gibson ES-335, with a Fender Deluxe Reverb. The instrument most often associated with him is a 1968 Pink Paisley Fender Telecaster.^[48]

Like many Nashville-based musicians, he lost a lot of instruments and other gear in the 2010 flood in Nashville, including a 1970s Gibson Les Paul and the prototype for a Z Wreck, one of the signature Paisley Dr. Z amplifiers. The insurance money, however, allowed him to buy (from George Gruhn's store) an exclusive 1937 herringbone Martin D-28.^[48]

Discography[link]

Albums[link]

Studio Albums

• 1999: Who Needs Pictures
• 2001: Part II
• 2003: Mud on the Tires
• 2005: Time Well Wasted
• 2006: Brad Paisley Christmas
• 2007: 5th Gear
• 2008: Play
• 2009: American Saturday Night
• 2011: This Is Country Music

Compilations

• 2010: Hits Alive

Awards[link]

Paisley in April 2010

Brad Paisley has won the following awards:^[49]

• Academy of Country Music
  • 1999 – Top New Male Vocalist of the Year
  • 2004 – Vocal Event of the Year ("Whiskey Lullaby")
  • 2004 – Video of the Year ("Whiskey Lullaby")
  • 2005 – Album of the Year ("Time Well Wasted")
  • 2005 – Vocal Event of the Year ("When I Get Where I'm Going")
  • 2005 – Video of the Year ("When I Get Where I'm Going")
  • 2007 – Top Male Vocalist of the Year
  • 2008 – Top Male Vocalist of the Year
  • 2008 – Video of the Year ("Online")
  • 2009 – Video of the Year ("Waitin' on a Woman")
  • 2009 – Vocal Event of the Year ("Start a Band")
  • 2009 – Top Male Vocalist of the Year
  • 2010 – Top Male Vocalist of the Year
  • 2011 – Top Male Vocalist of the Year
• Country Music Association Awards
  • 2000 – Horizon Award
  • 2001 – Vocal Event of the Year ("Too Country")
  • 2002 – Music Video of the Year ("I'm Gonna Miss Her")
  • 2004 – Musical Event of the Year ("Whiskey Lullaby")
  • 2004 – Music Video of the Year ("Whiskey Lullaby")
  • 2006 – Album of the Year (Time Well Wasted)
  • 2006 – Musical Event of the Year ("When I Get Where I'm Going")
  • 2007 – Music Video of the Year ("Online" – director Jason Alexander)
  • 2007 – Male Vocalist of the Year
  • 2008 – Music Video of the Year ("Waitin' on a Woman")
  • 2008 – Male Vocalist of the Year
  • 2009 – Male Vocalist of the Year
  • 2009 – Musical Event of the Year ("Start A Band" with Keith Urban)
  • 2010 – Entertainer of the Year
• Grammy Awards
  • 2008 – Best Country Instrumental Performance ("Throttleneck")
  • 2009 – Best Country Instrumental Performance ("Cluster Pluck")
  • 2009 – Best Male Country Vocal Performance ("Letter to Me")
• Country Weekly Presents the TNN Music Awards
  • 2000 – The Discovery Award
  • 2000 – Song of the Year ("He Didn't Have to Be")
  • 2000 – CMT Music Video of the Year ("He Didn't Have to Be")
• Flameworthy Awards/CMT Music Awards
  • 2002 – Concept Video of the Year ("I'm Gonna Miss Her")
  • 2005 – Collaborative Video of the Year ("Whiskey Lullaby")
  • 2006 – Most Inspiring Video of the Year ("When I Get Where I'm Going")
  • 2008 – Comedy Video of the Year ("Online")
  • 2009 – CMT Performance of the Year ("Country Boy")
  • 2009 – Collaborative Video of the Year ("Start a Band")
  • 2009 – Male Video of the Year ("Waitin' On a Woman")
• American Music Awards
  • 2008 – Favorite Country Male Artist
  • 2010 – Favorite Country Male Artist
• American Country Awards
  • 2010 – Artist of the Year - Male
  • 2011 – Artist of the Year - Male
• Orville H. Gibson Guitar Award
  • 2002 – Best Country Guitarist (Male)
• Nashville Songwriters Association International Award
  • 2002 – Songwriter/Artist of the Year
  • 2005 – Songwriter/Artist of the Year
• ASCAP Country Music Award
  • 2004 – Songwriter/Artist of the Year

References[link]