The Voice Boosts Coaches Careers Without Launching Stars


There’s a pretty lengthy cover story on the new season of The Voice in this week’s Billboard. It’s a pretty good read. I’ll pull out a few interesting tidbits here.

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Top Footballers That Don’t Have Great Coaching Career Success

There’s a lot of discussion about how the show has helped the careers of the coaches, but has not been able to make stars out of their alums.

The coaches insist that the hopefuls get something residuals can’t buy: a dose of hard-earned wisdom from their mentors. In October 2012, Levine said, “Eventually, The Voice is going to have to launch somebody into the stratosphere to continue to be taken seriously.” But now he argues that the show is not about making a star so much as helping budding singers become as “well-equipped as possible for reality, which starts the minute that confetti falls and people continue with their careers.”

Williams interrupts to point out what an invaluable service their celebrity wattage provides: “I just don’t like that we’re talking about this from the defense, as if there’s something wrong. I never had a Gwen Stefani, or an Adam Levine, or a Blake Shelton to come in and tell me anything when I was 15 years old.

So, The Voice is now about putting singers through an all-star bootcamp, before sending them off with a pat on the rear and a good luck? Their ratings have always been just fine without all-star alums. And now that American Idol isn’t producing stars anymore, I’m sure that allows the producers to adjust their talking points without appearing to be in denial.

Meanwhile, the coaches sell more albums and tour tickets then ever.  Adam Levine admitted that his band, Maroon 5 was in a slump before he signed on for the first season (The band has pretty much been on the top of the charts ever since with hits like “Moves Like Jagger” and “Payphone.”  Even Christina Aguilera, whose presence has been off and on, scored a huge hit with “Say Something” after she and A Great Big World debuted a new version of the song on the show.

Only two of The Voice winners, Cassadee Pope from season 3 and Danielle Bradbery from season 4, both country artists, have made any traction on the charts. Although country duo, The Swon Brothers, (Season 5, 3rd place), have had a promising start with their first single “Later On” which is currently Top 20 on the country airplay chart.  Tessanne Chin and Josh Kaufman, Season 5 and 6 winners, respectively, are fine singers–but perform in a throwback R&B style more suitable to Adult Contemporary than current pop radio. Tessanne, who quietly released her debut album,  Count on My Love, only sold 7K of her debut album the first week. Currently, Josh is focusing on putting out a single, rather than starting to work right away on a full length album.

Adam Levine and Blake Shelton have appeared on every cycle of The Voice, while two of the chairs have revolved with the likes of Christina Aguilera, Shakira, Usher and Cee Lo Green.  Gwen Stefani and Pharrell will join Adam and Blake for the upcoming season 7. NBC brass have said that artists who have already sat on the panel have an open invitation to return–with one exception.

After being accused, in 2012, of slipping ecstasy to a date who said she later woke up in his bed, CeeLo Green  left The Voice. After pleading no contest to giving his companion the drug, but before a series of  controversial tweets on the definition of rape appeared, NBC head, Paul Telegdy said, “He remains a friend of the company.” But when asked if Cee Lo might ever return to the panel, the NBC boss admitted,  “For The Voice right now, our journey comes to an end.”

The Voice season 7 premieres on Monday September 22.

About mj santilli 33689 Articles
Founder and editor of, home of the awesomest fan community on the net. I love cheesy singing shows of all kinds, whether reality or scripted. I adore American Idol, but also love The Voice, Glee, X Factor and more!


  1. And this is a revelation…. why? That is the part of the show i never quite got. They somehow leave out the part about mass market appeal… choosing contestants with a great voice and dated sound isn’t helping anyone. Yes, it makes for great entertainment but when the lights go down they are often right where they started.

  2. Its becoming the Adam & Blake show. It would be refreshing to see a winner from the ‘other’ stand-in coaches for a change but most contestants still prefer those two mains. That’s what bores me. I wonder if Gwen or Pharell can pull an Usher this season? That would be interesting.

  3. “But when asked if Cee Lo might ever return to the panel, the NBC boss admitted, “For The Voice right now, our journey comes to an end.”

    I would hope so, especially after Cee Lo’s tweets that showed that he had some bizarre and dangerous ideas on what was acceptable behavior when dating.

  4. The article points out that the quote came before the crazy tweets.

  5. Except for when Cassadee and Danielle won, the 2nd or 3rd place finisher was a potential mass market artist who was younger and “hipper” than the actual winner.

    With a few small vote swings, the list of winners could have been Dia Frampton, Juliet Simms, Cassadee, Danielle, Jacquie Lee and Jake Worthington or Christina Grimmie.

    At some point it becomes clear that the viewers have a distinct preference and the labels can reach out to the runners-up. That’s what appears to be happening.

  6. Well, this has been discussed to death already. We all know by now that The Voice is just for entertainment ,not about making stars which is fine with me.

    Still, I am hopefully optimistic that The Swon Bros, whose debut album is out on Oct 14th, will be the first Voice artist to truly make a mark in the country scene.
    They are off to a fantastic start with their single and that CMA nomination is nothing to shrug about. I am pulling for them.. Here´s hoping..

  7. Don’t people get tired of writing about this non-controversy? It’s far easier for a chart-topping artist with a huge fan-base to get a new career bump, than it is for a completely unknown artist to suddenly become a star, which is why complaining about the disparities in success is utterly ridiculous.

    Some would also argue that the Voice owes its success to the coaches more than vice versa. If the panel had been composed of 4 different artists, would the Voice still be this successful? If they didn’t have the right chemistry, I’d say no. People also forget that all of these coaches (except Blake) were able to win multiple Grammys and top the charts without the help of the Voice. Yes they weren’t in the peak of their musical careers when they joined the Voice, but they certainly weren’t in a complete slump either (otherwise the Voice wouldn’t have hired them). Plus, I can’t think of a single artist who doesn’t go through peaks and troughs in their musical careers. There’s always a catalyst that helps to re-boost their career, and if it wasn’t the Voice, it could have been something else. It just seems strange to credit the Voice for the success of an artist who has already had multiple rounds of success.

    The other irony is that most of the coaches fared much better on the charts prior to the Voice. I don’t think that the Voice did much to boost the singles released by Cee Lo, Usher, Shakira or Christina. Christina performed multiple singles on the Voice yet they all flopped and she had to cancel her tour (the songs where she was the featured guest don’t count because they aren’t technically-speaking, her song). How exactly did the Voice boost her musical career, when all of her hits happened before the voice? Contrast Christina with Robin Thicke, who performed only once on the Voice and his song shot to # 1 the US itunes. The bottom line is this: If you don’t have a song that reasonates with viewers, a Voice performance will not help. The same rules apply for both coaches and guest artists alike.

    We all have different definitions of success. Some of the Voice artists have seen modest success even if they aren’t topping the Billboard charts. I certainly wouldn’t call them failures even if others od. I’m also going to go out on a limb and say that Melanie Martinez’ “Carousel”, which is being featured on the American Horror Stories promos is going to do very very well.

  8. I have never, ever watched The Voice, have no intention of doing so. The whole concept of the show is ridiculous…a singer is not just a voice, it is about the whole package…and, obviously, this goes against the dictum of the show where they are out to prove that you can be ugly and old and fat and weird and clumsy and still have The Voice. Wonder why that didn’t choose ugly, weird, non-performing “singers” to judge the show. Oh yea, that wouldn’t make good television.

  9. Tess, those are a lot of strong opinions for a show that you have never, ever watched! BTW, most of the competition is not blind…just the auditions. Probably because the producers agree with you about the whole package also being important.

    Anyway, it seems unfair to criticize a show for doing what every other show does; they all pick popular attractive people to draw viewers, Yes, the show is called “The Voice”, but that doesn’t mean that they have to take it liteerally. SYTYCD is all about dancing, yet practically all of the top 20 contestants are attractive (especially the females). So why hold the Voice to a different standard?

  10. Not a fan of the concept behind The Voice but it’s credibility as entertainment is big enough to make up for it’s lack of credibility as a star-launcher. The celebrity judges are probably contributing more to the ratings than the contest itself, so they get to make the big bucks.

  11. “In October 2012, Levine said, “Eventually, The Voice is going to have to launch somebody into the stratosphere to continue to be taken seriously.”

    Yes, he did say that. So now, have they have figured out that the show doesn’t have to be taken seriously to make good money for everyone involved except the contestants? No one has to say stuff they can’t follow through on anymore. Just get new contestants and don’t even worry about it. IMO.

  12. Then why have the “blind” auditions to begin with. That is/was the show’s gimmick. Show’s that “insult” me as a viewer loose me before they ever start.

  13. None of the so-called younger, hipper more mainstream contestants have made any impact in the music industry since they were on The Voice, either. Only a couple of them even got record deals. Most of them have to release their music independently, without any help from their so-called “mentors” or the show. Blake has reached out to a few of them, taken them on tour, etc, but that’s about it. Tony Lucca did an interesting interview not long ago about his experience being on Adam L’s label (he is back to being an indie artist). If these contestants go into the show expecting a lot of help from the show or the “mentors” once their season ends, they are foling themselves.

  14. It would be refreshing to see a winner from the ‘other’ stand-in
    coaches for a change but most contestants still prefer those two mains.

    Usher won last year to finally break the chain of Adam/Blake wins.

    I think the contestants tend to prefer to be on Adam’s or Blake’s teams because those guys have the biggest fan bases amongst viewers of the show. They contestants realize that may help them stay on the show longer and get them more exposure. Contestants have to get what they can out of the show.

    I think the producers were very glad to get a different judge winning last year and it seemed almost like Adam/Blake were trying to tank their teams for the last couple of seasons trying to get a different winner. The producers probably worried that if the same judges kept winning, they might lose viewers (plus, if one or both of those judges left, their show would really suffer in the ratings).

  15. Don’t people get tired of writing about this non-controversy?

    I believe this is the first major mainstream media to point out that the show’s major benefactor’s are the judges. We’ve yapped about it a lot here and the press has pointed out the lack of success of contestants, but for Billboard to make the point about the judges on the cover of their magazine is interesting.

    I wonder if that is the slant the producers were hoping for? While it is the truth, the charade that everybody is there to help the struggling singer is generally a much easier story to sell to the general public than let’s help the rich get richer on the backs of the poor they make jump through ridiculous hoops.

    Perhaps its time to revive “Lifestyles of the Rich and Famous” with a twist where we don’t just get to see their houses – we also get to watch them make ridiculous demands of their staff – or is that already the premise of those Housewife series?

  16. The coaches insist that the hopefuls get something residuals can’t buy: a dose of hard-earned wisdom from their mentors.

    What is this hard-earned wisdom – do the judges have a pep talk with them in the early live shows and tell them:

    “Look, I’m just using you to make money and I’m going to throw you on the trash heap as soon as you are no longer useful. Trust me, this is how the entire industry works and you should thank me for this early wake-up call.”

  17. Slow and steady. Jacquie’s first single charted today for the first time.

    At this moment in time, a Voice non-winner has a better shot at a label deal than an Idol non-winner. It’s not superstardom, but it’s better than a kick in the head!

  18. My complaint isn’t about the disparity in the success of the mentors and the contestants. My complaint is that the show is advertised as “looking for the next voice, the next music star” and then it goes and totally overshadows the contestants by focusing so heavily on the mentors. It’s false advertising, in my opinion. And it’s unfair to the contestants.

    I wouldn’t have a problem with The Voice if they advertised itself for what it is, which is basically an infomercial to pimp the judges’ careers. At this point the next step would be to simply turn it into a full-fledged variety show for Adam, Blake, et al and turn the contestants into background singers/dancers. They aren’t all that far away from already having done that, IMO.

  19. Where did it chart — on HAC? Good for her, but she isn’t going to have any impact on the pop charts.

    And labels aren’t rushing to sign The Voice contestants any more than they are Idol contestants. Maybe one or two will eventually land a label deal but the majority will remain indie artists.

  20. Of course it’s a gimmick. Every talent show has them, otherwise it would be a documentary about A&R in the music industry.

    The Voice has Blind auditions and battles. Idol has Golden tickets and Group performances. AGT has giant buzzers. X Factor had musical chairs of doom.

    There’s always a balance between showcasing talent and making an entertaining TV show.

  21. Essentially – that’s exactly right. Put the Hunter Thompson quote about the music industry in their dressing rooms and it’s all covered.

    “The music business is a cruel and shallow money
    trench, a long plastic hallway where thieves and
    pimps run free, and good men die like dogs.
    There’s also a negative side.”

    ? Hunter S. Thompson

  22. I agree that labels aren’t rushing in. However, since Jessica Sanchez got a deal, no other Idol non-winners have been signed. In that same time period, 4 Voice non-winners signed with major labels.

    Again, nothing guaranteed, but certainly better odds.

  23. I just want contestants who aren’t from Blake to have some marginal success. I don’t mind the country genre but I just don’t really listen to it. I’m crossing my fingers for Josh Kaufman but he doesn’t seems to have retained any popularity after his season. I wonder if he will even bother releasing an album. It seems like the better option for these winners is to take the money and run.

  24. From an interview Josh did recently, it sounded like he is doing a “test single.” If his single does well, then the label will consider an album deal. So an album is not guaranteed yet.

  25. I’m not sure how to classify his record label. It’s owned by a major, but it operates in a distinct niche.

  26. I heard Melanie Martinez on the radio (KTCL in Denver) last week, and she’s performing at the Austin City Limits Festival next month (as are Dawn and Hawkes), so there’s potential!

  27. I think Melanie will get more mileage out of the American Horror Story promo tie-in than anything else. That was a smart move by whoever put them together!

  28. Why would anyone expect from the mentors to help their contestants post show? That’s not their job. They have their own careers to care about.

    Also, we can’t expect anything from contestants that don’t get signed to a major label. I mean, One Direction wouldn’t where they are today if Syco passed on them.

    Contestants from these talent shows can’t go anywhere without proper major label backing and good management. I think that record labels in the US just don’t have faith in anyone now.

  29. Some of the contestants have received help post-show, so that raises expectations. Blake especially has a reputation for it. He hired one of his “early out” contestants as a back-up singer and then gave her a featuring credit on a song that went to #1.

  30. Normally I wouldn’t expect the mentors to help the contestants after the show ended, but in this case several of the mentors talked about how they were going to help their team members. As far as I can see, Blake is the only one who has consistently tried to help the contestants; Adam signed Tony Lucca and brought him on tour (Tony left the label pretty quickly, though), but I don’t know if he’s done anything for any of his other former team members. Usher was going to help Michelle Chamuel, but again, I don’t know if he’s done anything for her. Shakira, Cee-Lo and Christina all talked at one time or another about helping their contestants once they were off the show.

    So my feeling is, while it certainly isn’t the mentors’ job to help the contestants once they are off the show, If you are going to talk about doing so, then you need to follow through. Otherwise, don’t make the claims in the first place.

  31. No big story here. The Voice has never been about anything but promoting it’s stars and never will be. The entire show is gimmicky and geared to the byplay of its stars. Never heard of Blake Shelton before he was on this show, but he’s now a superstar. Adam Levine was a part of Maroon 5, etc. the biggest star was Christina, who this show has done the least for. This will put Gwen S. Back in the public eye. As for Pharrel, he is everywhere theses days. They actually have had some good talent on this show, but the coaches over shadow them. Idol needs to be careful this doesn’t happen to then if it hasn’t already.

  32. The judges have more star power in their little finger than TV contestants will ever have. What TPTB must do isn’t promoting artists that will never succeed on a large scale, it is like pushing water uphill, they need to pick people with star power. It may be an impossible task though, it seeems that potential stars have abandoned all the talent contests for good.

  33. I expect that some of the Voice non-winners are eventually going to break through, but it takes time for artists, especially the young ones, to make contacts in the industry, develop material, get more performing experience, find a band, develop their sound, etc. It’s not necessarily a surprise that some of the winners haven’t gone on to great things because it takes somewhat different skills to succeed on the show than it does in the music industry. The format favors people with experience and performing skills who can put together a consistent set of entertaining performances and convey a clear musical identity in the pressure cooker environment of the show. However, this does not necessarily translate to being a marketable current artist (especially for experienced artists who previously got dropped by labels, don’t change their sounds and styling sufficiently, or are aging out of the industry). Moreover, the days are long past when record companies want to sign a runner up right off one of these shows and put together a quick album to try to cash in.

    It’s more honest for the show to level with contestants that being on the show is an opportunity to perform on national tv, meet some musical stars and other striving unknown artists from around the country, and go through a kind of music industry boot camp. They’re making a TV show after all, not running a label. It’s up to the contestants to figure out where to take the experience after the show. That takes time, and nothing’s guaranteed. I think this has been acknowledged behind the scenes for awhile, and now it’s being acknowledged publicly. (Being brutally honest, Adam Levine has called the Voice “a game show for celebrities” and I think he’s told his team members this in private to manage expectations and encourage them to get what they can from their time on the show.)

    For 20-something artists with the right combination of talent, looks, relevance, and contacts, the show can be a good opportunity to boost their careers. The Swons seem to be well on their way with their first single. They were lucky to have a good combination of prior experience, a sound that fits in with country’s current dalliance with classic rock, plus industry contacts. They’ve had help both from Blake as well as Carrie Underwood, who went to college with Zach Swon. Judith Hill seems to be poised for an album launch sometime this fall/winter. She’s been doing a lot of fashion spreads, industry and charity events, and apparently she’s worked with both Prince and Isa Machine (from Florence +the Machine) on material for her album. Clearly Sony’s invested some money in all of this so I don’t think she will disappear. Dia Frampton might finally make inroads when her latest project Archis with Joseph Trapanese (a film composer who’s worked with Daft Punk) launches next year on a (as of yet unnamed) small label. From what I’ve heard, its the best work she’s ever done.

    I expect that at least one of the younger contestants with deals like Melanie Martinez, Jacquie Lee, Christina Grimmie, Caroline Pennell, etc. will find some success. Some of the self-releasing artists are doing ok too. Grace Askew seems to be getting some good press coverage for her recent self-released album and hopefully she’ll make inroads in Americana circles. Michelle Chamuel is touring a soon-to be self-released album this fall. There’s a bunch of other alumni who are self-releasing music, and perhaps at some point a few of them will be able to get signed too after taking more time to develop.

    As for the current winner, Josh Kaufman, some of the press he did for his recent Indy Jazz Fest appearances alluded to a “blockbuster opportunity.” So far, he’s only talked about working on a single, so there might be something else in the works. Maybe that just means he will pop up at a couple of dates on Usher’s forthcoming tour. But, perhaps it could mean that the label is going to send him on the road as an opening act for someone else and lay a foundation for launching an album if things go well with both the single and tour. I’m also curious to see if he ends up as a Republic artist, or if Universal will have one of its other labels manage him, as happened with the country winners and Big Machine. It would make sense for a more adult-oriented imprint like Verve to take him on, especially because of his jazz background, since they also have a few AC artists on their roster. If I were managing him, I would try to initially position him as an AC artist with jazz and soul elements in his music, try to get some songs on radio and build up the audience, and keep the option open for him to cross over fully to jazz in the future.

  34. At bottom, I think it comes down to whether you can watch a music competition show without needing a post-show happy ending.

    Since my very favorite such show of all time is Rockstar: INXS, clearly I have no problem with it.

    I can watch a show, enjoy the music, even have a rooting interest. As long as the participants don’t end up in a worse position, I’m good.

  35. With U2 giving away their current CD (collection of songs, since it isn’t actually a physical thing you can touch)…I think we need a new yardstick to measure what “success” is. It sure as hell isn’t CD/record sales…not any more. I think Windmills (on here) said that Brad Paisley’s new CD was ranked #1 Country and #2 over all and only sold 50k+/_ copies the 1st week….
    I read an interview with Angie Miller this morning and she said she actually turned down a label deal because they didn’t know who or what she wanted to be…(wanted to mold her into a 1 hit wonder I’d guess).
    The music industry is changing faster than we can keep up with.

  36. With U2 giving away their current CD (collection of songs, since it isn’t actually a physical thing you can touch)… I think we need a new yardstick to measure what “success” is. It sure as hell isn’t CD/record sales.

    Well, but U2 is not giving away free music like an indie band on Bandcamp or Reverbnation. Apple paid U2 and its label, Universal, a large (unspecified) amount as a blanket royalty, then committed to a $100 million marketing campaign.

    If U2 hadn’t been a huge worldwide success in traditional terms (record sales) back when Apple’s executives were young, do you think they’d be getting this kind of payday now?

    Labels still care deeply about record sales because that’s what pays the bills (360 deals never caught on the way they were touted circa 2009). The actual numbers involved are getting teenier and teenier, but the metric still matters unless a band can (instead of going the label route) find corporate sponsorship (as OK GO did) or develops a huge touring machine (but tours are smaller these days, too).

    My post-apocalyptic prediction, for a couple years now, has been that corporate sponsorship will partly replace the label system (and possibly also the emphasis on radio). Certainly, if I were a young female country musician, I’d be open to writing music that makes people feel good about their exurban hobby-farm lives on behalf of Tractor Supply. It’d be less humiliating than many of the alternatives.

    ETA: To relate this to The Voice — I was also predicting that there’d be a move to direct corporate sponsorship of the winners’ releases from these shows, like the Pepsi single tie-in from XFUSA, only more comprehensive and lasting.

  37. I thought AI had arrogant judges until I watched the Voice. Adam is so full of himself it’s almost comical. Watching Christina sit there and look down her nose at some of the contestants always bothered me as well. I, for one, could tell right away that The Voice wasn’t about the contestants.

  38. I watched Rockstar: INXS & Rockstar: Supernova. Technically, J.D. (the winner of INXS) did sell pretty well. The album at last update has sold 391,000 & the 1st single “Pretty Vegas” was certified gold.The single did peak at #37 on the Hot 100 & #7 on Adult Top 40. That’s not too shabby. Now the new Rockstar: Supernova band with Lukas Rossi (winner) didn’t do as well.

  39. I will be glad when The Voice begins again. It’s a entertaining show, the judges have great chemistry, plus good mentors and they do a great job of bringing on some good acts to perform.

  40. Here is how I see it, The record companies are taking chances with acts that are being mentored(The Voice) then judged (American Idol) . Case in point, Christina Grimmie, Jacquie Lee and The Swon Bros who did not win got signed, also Melanie Martinez. Heck, even ReaLynn is still with her major label, who in idol who didn’t win can say that from the last 4 years. Winners are bombing and the other top ten are going nowhere or anywhere with a label. These acts on the Voice are getting real training compared to being told to “get of the stage” (Nicki). Also getting Adam or Blake in your corner can open a lot more doors than what JLo is going to do for you. Let’s see, JLo ask Pia to be a backup for her, Blake does a duet with Gwen Sebastian which charted. At the end of the day you can say what you want of The Voice, It’s producing and Idol isn’t

  41. Yes, I realize that. I guess that we should be grateful that NBC made the decision on Cee Lo before the crazy tweets.

  42. Xtina had a few of her contestants on the MV for “Let There Be Love” and was featured on Chris Mann’s album. There were also rumors that she asked Frenchie Davies to record something for Lotus (backing vocals, I think) but nothing came out of it AFAIK

    Cee Lo showed up in Vicci Martinez’s album, he had a bunch of his past contestants in his Christmas special and I think he also signed Juliet Simms to a management deal

    Shakira is the only coach that hasn’t done anything to help her contestants after the show ended

  43. Because the blind auditions set the tone for the entire show. It’s basically how the coaches pick their contestants in the first place. If that first round of contestants wasn’t blind, the pool of contestants getting to the live rounds would probably be very different.

  44. I have a much different perception of The Voice. I don’t see it as a platform to solely “pimp” the career of judges, so it’s kind of moot for me to address some of the issues that you mention, I like the judges, but ultimately I watch the show for the contestants, so in the eyes of this viewer, they aren’t overshadowed in my eyes. The judge pimpage criticisms could easily be applied to Idol. People used to watch Idol just to watch Simon Cowell dish out insults to the contestants. In fact, most of Idol’s promos featured bad singers, not good ones. Personally, I think the Voice coaches get more attention from the media because they are charismatic Or maybe they get more attention because they actually have to coach the contestants and spend time with them . But isn’t that a good thing? I’m guessing that the chance to work closely with someone like Usher or Adam or Christina (rather than just being judged by them) would be a major draw for a lot of these contestants and probably a big reason for why many of them are very positive about their Voice experience.

    What can I say. like the show. I like the fact that they treat all of their contestants (not just he winners or top 12 artists) like respected artists. They may not have a superstar yet, but the coaches do try to the top people on their teams after the Voice. I’m not sure what else to say………………

  45. I have the song on constant rotation my ipod. I love it, and it’s perfect for AHS. First Adam Levine gets an acting role on AHS and now Melanie from his team gets her song on the promo. I wonder if there’s a connection

  46. Blake is really the coach you want…. the only people to have made an impact in the real world post-show have all come from his team. Cassadee Pope’s album hit No. 1 on the Country chart and her single sold a million copies. Danielle Bradberry’s album went to No. 4 and she had a Top 20 single. The Swon Brothers currently have a Top 20 single at Country radio and RaeLynn has a Top 40 single there as well. And as Amy mentioned, Blake did a duet with Gwen Sebastian from season 2 that went to No. 1 on the Country chart. Clearly Blake is a good guy that truly cares about the singers on his team.

  47. CeeLo recorded a duet with team member Vicci Martinez from season 1 and it was a fantastic song called Come Along… it got a lot of radio play around here. If you’ve never heard it search it out.

  48. I think CeeLo was stoned all the time anyway… NBC was probably sick of him.

  49. Cassadee Pope’s album hit No. 1 on the Country chart and No. 9 overall. Her single sold a million copies and she won a CMT award! How is that not “truly making a mark on the country scene”?? Some of you people are delusional if you think that a struggling country singer wouldn’t sell their own grandmother for that kind of success….

  50. Tess, you say that The Voice has never hired a judge who was “ugly and weird” to prove their point. Apparently you are unaware that CeeLo Green has worked several seasons on the show… this is a man who CLEARLY got ahead on talent alone.

  51. But Blake Shelton is one of the most kind and decent artists in the music industry… he treats all the singers like gold while they’re on the show and then even helps them after the season has ended. I also got a “good guy” vibe from Usher and I’m hopeful about Pharrell and Gwen as well. But yeah… Christina kinda seems like a b*tch.

  52. Cassadee Pope – #1 Country Album, Top 5 Country single (platinum)
    Danielle Bradbery – #4 Country Album, Top 20 Country single
    Swon Brothers – Top 20 Country single
    RaeLynn – Two Top 30 Country singles
    Gwen Sebastian – duet with Blake Shelton, #1 Country single (gold)
    Vicci Martinez – Top 20 single at Adult Top 40 radio

    In the past 3 years, what has Idol produced other than Phillip Phillps?

  53. Ok, just picked a couple of artists & did a search.
    Phillip Phillips – Too many to list, lol. Sales are unbelievable.

    Colton Dixon – A Messenger BB200 #15, Anchor #23
    Singles: “Never Gone” Chistian #24, “You Are” Christian #10, “More of You” #9

    Colton Dixon – GMA Dove Awards:
    2013 Nominations: New Artist of the Year, Best Rock/Contmporary Album of the Year (A Messenger) – WON. Best Rock/Contemporary Song of the
    Year (“Never Gone”)

    Candace Glover – BB200 Music Speaks #14
    Singles: “Cried” -Adult R&B #16, “I Am Beautiful” – R&B #33, Heat #6

  54. Hyena told lioness: “You’re a bad mother. You raise one cub, and I have five of them. And everyone is well-fed, and all I brought up”. “Well, but you’ve raised hyenas, and I – lion – lioness said.

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