Well look what the cat dragged in, it’s Bret Michaels from Poison with his Maybelline eyes giving a new definition to the term “coyote ugly” with his caustic and aggressively-unoriginal song “Girls On Bars.” Congratulations country music, your hair metal phase has just graduated from figurative to literal.
Last week, lost among the shuffle of a slew of bad news stories on the country music front was the news that mega concert promoter Live Nation had purchased a 51% controlling stake in the largest independent music festival in the country—Manchester, Tennessee’s Bonnaroo. The specifics of the deal looked very similar to the deal struck in December of 2014 when they purchased Austin’s C3 Presents.
Disregard that discussions about Bro-Country now feel like old hat ever since the trend trailed off except for a few last vestiges of outdated-feeling singles working through the system, Brantley Gilbert has decided he’s fed up with all the fuss about Bro-Country and has released a single saying as much. The song criticizes complaints about Bro-Country by listing off many of the same common tropes of the trend.
It’s a national embarrassment that an artist, singer, and songwriter like Chris Stapleton is just now getting his feet onto the ground floor of stardom while the morons he’s penning super hits for are out there starring in their own prime time televised specials. Forget the reams and reams of songwriting credits Stapleton’s accrued for a second; this dude can sing the pants off of anyone else.
Yelawolf has just released one of the biggest albums in American music at the moment. Love Story came in at #3 on the Billboard Top 200 last week, and where Radioactive flopped, Love Story has bounced. Love Story has some serious ties to country music that can’t go overlooked.
The fight for country radio to actually represent the people it is supposed to serve is an eternal one, and nothing illustrates this more than a recently-unearthed interview with George Jones taped backstage at the Grand Ole Opry dating back to February 21st, 1998. Think about it: This was 17 years ago, but every point George Jones makes is a poignant one, and one that is still patently relevant today.
“I used to be your average suburban mom of two. Trust me, I was very average,” says Susan Berkenstock of Oshkosh, Wisconsin. “Now I have spiked hair, wear checkered shorts and deck shoes everyday, and all I want to do is go camping.” What was the cause of Mrs. Berkenstock’s lifestyle transformation? She claims it all happened while listening to the current country music hit from Little Big Town called “Girl Crush.”
July 17th can’t get here quick enough for fans of the highly-decorated songwriter and Americana star Jason Isbell. That’s the day his much-anticipated release Something More Than Free hits stores—the followup to his heavily-decorated album Southeastern from 2013. Isbell has just made the new album available for pre-order, and has also released the first single from the album called “24 Frames.”
Alaska via east Nashville is not a narrative you normally see play out in the itineraries of country records. But who would question whether the wilds of Alaska have enough wide open spaces, scenic vistas, or snarly honky tonks and hard times to inspire a good country song? Nobody would after listening to Todd Grebe & Cold Country’s new record Citizen.
So the “Wet Cigarette of Country Music” wants to dip his toes into the sharky waters of country music radio again, huh? Well I guess it couldn’t be any worse than what’s already there. Kid Rock must have led the most idyllic, kick ass adolescence and young adulthood imaginable if you go by the testimony […]
2015 is apparently the year to get paid in country music, and no stone is being left unturned, and apparently nobody is immune. From mainstream country artists who we once thought were the few remaining renegades with integrity that are now releasing trendy R&B singles, to some of our favorite country heroes’ faces, names, and songs ending up endorsing products or stamped on packaging.
Earlier this year, the news came out about Love & Theft really getting the shaft from their RCA label in Nashville. The story was they got dropped because they weren’t Bro-Country. They were told that in as many words. And even worse, it happened when they had masters sitting on a shelf with the label, so they were left in a lurch like so many major label acts are when the ax falls.
Music is not a skills competition. This isn’t the decathlon. They don’t hand out Grammy Awards for the band that can play songs from the most genres. They give Grammys to the artists who steady themselves and prove they are the best in a given musical discipline. I’ll give credit to the backing band of Weird Al for their alacrity. With the Zac Brown Band, I just want to hear good songs.