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In 2011, when Jason Aldean’s country rap song “Dirt Road Anthem” became the best selling song in all of country music, the genre’s impending dalliance with rap was ordained. Though the sub genre had been brewing under the surface for many years, and quite successfully for some acts, it had now hit it big, and it was only a matter of time before you would see country music’s top performers experiment with the genre bending style.
When “Dirt Road Anthem” hit, artists like Cowboy Troy and “Dirt Road Anthem” co-writer Colt Ford had already made successful careers out of country rap for years, despite not being able to rise to the level of mainstream radio acceptance. There were many other acts doing very well at the club level with country rap, like The Moonshine Bandits, Bubba Sparxxx, and The Lacs. Country rap even had much of its own infrastructure, and despite the suspicion it was eyed with from the mainstream, most country rap acts were able to post videos and get views in the millions, Wal-Mart was stocking hick hop on their shelves, while labels like Average Joes, started by Colt Ford, offered material support to some of the bigger country rap acts.
When Music Row decided rap was its future and a potential vehicle to drive the genre out of the malaise it suffered with the rest of music in the decade of the oughts, there were a number of ways the influence could be integrated into the genre. Major labels could sign or otherwise champion already-established country rap acts like Colt Ford and The Moonshine Bandits. Or they could try to impose the new style with already-established mainstream stars who had proven they were palatable with the American public. The latter is the path country rap eventually took. Despite the success of “Dirt Road Anthem,” the song had fought an uphill battle on radio itself. Programmers were suspicious of country rap, and artists like Tim McGraw and Blake Shelton who would later release their own country rap songs, were a known quantity and already under contract compared to unproven talent like Bubba Sparxxx or The Lacs.
But 2012 came, and it was mostly quiet on the country rap front from a mainstream standpoint. As Saving Country Music pointed out in the story Mono-Genre Watch: 2012 End-Of-Year Sales,
2012 did not see either a dominant country-rap single, album, or artist. Rap is still asserting itself as an influence in country, but may not be finding the commercial strength it needs to stick. 2012 mono-genre songs like Tim McGraw’s “Truck Yeah” underperformed to expectations, never cracking Billboard’s Top 10 on the country chart.
But Music Row is notoriously 18 months behind the relevancy cycle. “Dirt Road Anthem” had taken the industry by surprise, and it took over a year for country’s major labels to retool to the new country rap reality. Then by 2013, country rap came out in full force, with virtually all of mainstream country’s big male stars releasing rap/country songs. Reigning CMA Entertainer of the Year Blake Shelton released “Boys ‘Round Here” to a #2 chart showing and double platinum sales. ACM Entertainer of the Year Luke Bryan released country rap “That’s My Kind of Night” that spent a whopping twelve weeks at #1, and was the song to finally depose another country rap-inspired single “Cruise” by upstart Florida Georgia Line that became the longest-running #1 song in the history of country music.
But 2014 has been a different story already. Whereas 2013 seemed to be dominated by country rap singles, 2014 has so far been the story of EDM, or Electronic Dance Music. Though EDM and hip hop can sometimes be mistaken for each other, especially to the country consumer’s ear and because the two disciplines have numerous similarities (use of electronic beats, sampling, and rapping instead of singing in some instances), there are also many clear differences between the two disciplines.
When Jerrod Niemann released his single “Drink To That All Night” in the second half of 2013, country music’s EDM cherry had been popped, and it seemed to be a harbinger for things to come in the country format. Interestingly the single underperformed in most of 2013, but has been creeping up the charts in early 2014, reaching its highest chart ranking in the last week of February. Though the argument can be made that Jerrod Niemann is still rapping instead of singing, “Drink To That All Night” is full of EDM earmarks: the heavily Auto-tuned electronic-sounding vocals, the digitized beats, and most-importantly the emphasis on perfectitude in the music as opposed to the fallibility of a live, traditional band lineup playing real instruments, reinforced in the video of the song that heavily refers to the EDM/dance club culture instead of the country honky tonk.
Many of the lead singles from country music’s big 2014 album releases from male artists lean heavily towards EDM influences, most notably Tim McGraw’s “Lookin’ For That Girl” with it’s heavily-digitized vocal track and electronic beat bed. Rascal Flatt’s “Rewind” incorporates many EDM elements. And Brantley Gilbert, one of the other co-writers of “Dirt Road Anthem,” his latest single “Bottoms Up” sounds much less like a country rap, and more like a country/EDM effort with more melody to the vocals, and the signature electronic drum bed and digitization of instrumentation.
First, don’t count country rap out. There are certainly more country rap singles from big, mainstream country artists in the pipeline that we’re likely to hear in 2014, if they ever go away completely in the more global trend of the formation of a mono-genre. And in the independent realm, acts like The Lacs and Moonshine Bandits are likely to remain sustainable commodities.
But despite a few lucrative singles, country rap was very hit and miss in the mainstream. The aforementioned “Truck Yeah” by Tim McGraw seemed like an unfortunate career move. Jason Aldean’s “Dirt Road Anthem” followup called “1994″ was a general flop in comparison, stalling in the charts despite a heavy push behind the song. Brad Paisley’s much-ridiculed “Accidental Racist” with LL Cool J wasn’t even released as a single. In the end, mainstream country stars just didn’t make good rappers. Country music is for crooners and twang, and even though these elements are generally lacking in present-day country music anyway, this was the foundation of these singer’s discipline, and rapping never stopped feeling foreign to them, their audience, and most importantly, radio programmers.
EDM on the other hand is a “no experience required” format when it comes to singing. The purposefully heavy Auto-tuned environment allows the performer to simply hit close approximations of the melody the song is built around, and then the studio hands take over from there.
However just like with rap, country music is horrifically late when it comes to the EDM game. The argument that was made during the integration of rap into country is that country music had to evolve. What the people making that argument failed to realize is that rap was already a 30-year-old art form when it made its appearance in country’s mainstream. Similarly, many of the EDM elements we’re seeing in country—especially Auto-tuned lyrics—are already considered outmoded in most other mainstream music.
Similarly, the relevancy arch has moved on in many ways from the heavy electronic sound. An EDM act in Daft Punk dominated the Grammy Awards held in January, and they did so with a live sound. Instead of starting with electronic beats and synthesized hooks, Daft Punk’s Random Access Memories featured live, human instrumentation and vocals with minimal electronic treatment. This was the formula that won them 5 Grammy Awards, including Best Album and Best Record. In the end it is not the EDM elements in country music that make it bad, just like rapping in a country song isn’t something that can be completely ruled out as a valid form of expression if it is done in a fresh, artistic way. It is the poor implementation—the awkwardness of the integration of the two influences, and the submissive pose country takes towards EDM and rap—that makes it so polarizing.
Whether it was country rap in 2013, or EDM influences in 2014, it speaks to a systemic problem with country music that the format deems itself inadequate and feels the need integrate influences from other genres to stay relevant, following instead of leading, and making excuses of why it can still be cool instead of educating the public on country music’s inherent virtues.
Saving Country Music has been sounding the warning bell that the big story of 2014 will be the formation of two gargantuan media companies that will absolutely dominate the country music landscape and encapsulate everything from radio, television, print and online media, and social network channels. The Country Music Media Arms Race is being fought by the two biggest radio station owners in the United States: Clear Channel and Cumulus, and during this week’s Country Radio Seminar, we are starting to get some of the specific details of the plans these future massive media companies have, and to say their plans are expansive is an understatement.
Cumulus Media is #2 on the radio ownership totem pole, and to attempt to hopscotch their rival Clear Channel, they are planning massive expenditures, acquisitions, and ventures to push the recognition of their big country music brand: “NASH”. NASH and NASH-FM is the brand of Cumulus’s 70+ station syndicated Top 40 pop country network. We already knew that Cumulus had recently acquired a 50-percent interest in the 17-year-old, 500,000+ circulated Country Weekly magazine to re-brand it as NASH. Now in some recent reports, the beans are being spilled about the extent of just how far Cumulus is hoping to push the NASH brand.
Some of their plans are obvious. Since their rival Clear Channel has now partnered with CMT, Cumulus and NASH are looking for their own television partner, potentially Great American Country or GAC, or re-branding the Destination America and American Heroes cable channels owned by Discovery Communications. Also, after Clear Channel’s streaming service iHeartRadio announced a country music festival in Austin, Cumulus and the NASH brand are looking into doing a festival and/or concert series, as well as a radio-based award show with Dick Clark Productions—the same production company behind the Academy of Country Music Awards, or ACM’s.
But the Cumulus plans go even further than that. Here is a run down of some of the things Cumulus has planned for their pop country NASH brand:
In the vein of Toby Keith’s I Love This Bar & Grill chain, or Rascal Flatts’ recently-announced plans for a chain restaurant, NASH wants to open a fleet a family-friendly fern bars to help establish their brand in certain important markets and locations. You could enjoy some Taylor Swift fried cheese, or a Brantley Gilbert blooming onion.
Yes, you read that right. Apparently NASH wants to get into the home improvement game. This move isn’t unprecedented. Big corporate brands such as Martha Stewart and Ralph Lauren have dipped their stir stick into the pain business to help solidify their corporate brands in the past, but a radio network? How about a nice Tim McGraw taupe to spruce up that breakfast nook?
Again, not completely unprecedented since you have big artists like Jason Aldean enjoying a big endorsement deal from Wrangler, and Taylor Swift peddling Keds. Some artists also have their own specific clothing lines. Country music and popular culture is a very visual medium, and being able to sell consumers similar clothing to what they see their favorite artists wearing is shrewd business.
Maybe the strangest of the ideas Cumulus is looking into, the company apparently wants to leave no stone unturned, and wants to bring the NASH brand right into people’s homes so they won’t forget who to consume their country music through; a little hard to do when you’re watching NASH TV from your Carrie Underwood signature NASH microfiber couch, muching on NASH leftovers from the night before in a room painted in your favorite NASH colors.
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Cumulus and their NASH brand is out for nothing short of absolute cultural immersion, with the vehicle being the widespread and growing appeal of popular country music. Pop country is seen as very safe and marketable because of its well-liked and clean image. And if Cumulus has its way with NASH, it will become one of the most recognized brands in the United States in the coming years.
Your move, Clear Channel.
So we haven’t even had time since the 56th Grammy Awards to sort out if Madonna had the authority to preside over a mass wedding, or if Pharrell’s hat was indeed copyright infringement against the Arby’s logo, and here only a few days later we’re asked to crunch a fresh batch of data dealing with the nominees for the 2014 ACM Awards on April 6th. There really should be some sort of mandate that the bad taste in your mouth and the horror of one awards show should have long subsided before you have to interface in any way with the next one, but apparently this would have been the case if The Grammys hadn’t been moved up this year because of the Winter Olympics.
Already the ACM nominees have many rolling their eyes and crying foul for various reasons. But folks, don’t ingratiate the Academy of Country Music beyond its value by acting like these awards matter to a greater degree than they actually do. Sure, the presence of the CMT Awards, and now FOX’s ACA Awards have somewhat risen the ACM’s out of the country music award show basement, but they will always be the baby brother of the CMA’s, and will be beset by ridiculous backroom label politics resulting in the anomalies to downright ridiculous notions that some of this year’s nominees represent. Nonetheless, a nomination and win will mean more attention and revenue for a respective label and artist, so it is not fair to discount the matter completely.
Tim McGraw and Miranda Lambert landed the most nominations with 7, and this is where the sideways glances begin. Miranda, though undoubtedly enjoying great success, hasn’t even release an album in over two years. Tim, undoubtedly doing everything he can aside from posing nude or releasing a sex tape to get the public’s attention after years of being saddled by Curb Records, certainly deserves some attention, but like Miranda, is likely being padded behind-the-scenes by a powerful label.
Once again George Strait is up for Entertainer of the Year, gut-checking the ACM constituency into potentially registering a sympathy vote and certainly making this category a subject of great intrigue instead of a forgone conclusion. And the laugh out loud moment is the nomination of Sheryl Crow for Female Vocalist of the Year—the same 5th slot the ACM’s have been stretching to fill for a few years now, with Kelly Clarkson, and Kacey Musgraves before she had even released an album being the other recent anomalies.
Things can change, news can break, and artists can have big months between here and now, but here are some early picks and observations.
Entertainer of the Year
Two horse race between last year’s winner Luke Bryan that had yet another very commercially-successful year, and the sympathy vote for King George. Miranda’s inclusion here is somewhat interesting, and there may be a sentiment out there that at some point Miranda deserves an Entertainer of the Year from somewhere, but it’s hard to see that happening this year. Taylor Swift has no chance, and may not even attend the awards.
- Luke Bryan – Other Potential Winner
- Blake Shelton
- George Strait - Winner
- Taylor Swift
- Miranda Lambert
Male Vocalist of the Year
This comes down to the two hosts of the ACM Awards, Luke Bryan and Blake Shelton. Interesting to see Curb Records really pushing Lee Brice in this year’s cycle, but he doesn’t have the cred yet for this distinction. Keith Urban’s influence died off years ago, and Average Joe’s cash cow Jason Aldean’s Night Train just didn’t have the kind of wide impact My Kinda Party did.
- Jason Aldean
- Lee Brice
- Luke Bryan – Winner
- Blake Shelton – Other Potential Winner
- Keith Urban
Female Vocalist of the Year
This is a hard one. Of course Sheryl Crow has no chance, and Taylor likely doesn’t either. Carrie seems like a long shot, and always seems to be underdogged by the ACM’s. Kacey Musgraves has received love from the ACM’s early and often, and if she can make a splash between here and now on the radio, she might have an outside chance. But it’s all setting up to be Miranda’s night.
- Sheryl Crow
- Miranda Lambert – Winner
- Kacey Musgraves
- Taylor Swift
- Carrie Underwood
Single Record of the Year
- Florida Georgia Line – “Cruise” – Winner
- Lee Brice – “I Drive Your Truck”
- Miranda Lambert – “Mama’s Broken Heart”
- Darius Rucker – “Wagon Wheel”
Album of the Year
Man. This is a completely wide open field, and I have no confidence picking any one of these over the others. Obviously Kacey Musgraves would be the critical favorite. Blake Shelton also has to be considered a favorite since he won the CMA in the same category. It might be a little early for Florida Georgia Line to win an award like this, but it’s hard to argue with that album’s performance. And the ACM’s seem to love Luke, so he can’t be ruled out. Tim McGraw is about the only long shot.
- “Based On A True Story…” – Blake Shelton
- “Crash My Party” – Luke Bryan
- “Here’s To The Good Times” – Florida Georgia Line
- “Same Trailer Different Park” – Kacey Musgraves
- “Two Lanes Of Freedom” – Tim McGraw
Song of the Year
We’ve seen “Mama’s Broken Heart” listed in the category for many of the year’s awards, but does it really have the kind of depth of a typical Song of the Year? “Wagon Wheel” doesn’t really either, but can’t be ruled out. Interesting to see Gary Allan get a mention here.
- “Every Storm (Runs Out Of Rain)” – Gary Allan Songwriters: Gary Allan, Hillary Lindsey, Matthew Warren
- “I Drive Your Truck” – Lee Brice Songwriters: Jessi Alexander, Connie Harrington, Jimmy Yeary – Winner
- “Mama’s Broken Heart” – Miranda Lambert Songwriters: Brandy Clark, Shane McAnally, Kacey Musgraves
- “Mine Would Be You” – Blake Shelton Songwriters: Jessi Alexander, Connie Harrington, Deric Ruttan
- “Wagon Wheel” – Darius Rucker Featuring Lady Antebellum Songwriters: Bob Dylan, Ketch Secor – Other Potential Winner
Vocal Event of the Year
Were the contributions of Lady Antebellum to “Wagon Wheel” and The Pistol Annies to “Boys ‘Round Here” significant enough to consider them true vocal events? “Cruise” is the obvious commercial winner, but voters may shy away from the cross-genre collaboration.
- “Boys ‘Round Here” – Blake Shelton Featuring The Pistol Annies
- “Cruise” (Remix) – Florida Georgia Line Featuring Nelly
- “Highway Don’t Care: – Tim McGraw Featuring Taylor Swift & Keith Urban – Winner
- “Wagon Wheel” – Darius Rucker Featuring Lady Antebellum
- “We Were Us” – Keith Urban And Miranda Lambert
Vocal Duo of the Year
I write about country music for a living, and this is the very first time I have ever heard of “Dan + Shay”. Previewing their music, hopefully I never have to hear from them again. Joey + Rory would have been the better pick.
- Big & Rich
- Dan + Shay
- Florida Georgia Line – Winner
- Love and Theft
- Thompson Square
Songwriter of the Year
Shane McAnally is who deserves it. Rhett Atkins would be the commercial pick. Luke Laird also likely has an outside chance.
- Rhett Atkins – Other Potential Winner
- Rodney Clawson
- Ashley Gorley
- Luke Laird
- Shane McAnally – Winner
Vocal Group of the Year
- Eli Young Band
- Lady Antebellum
- Little Big Town
- The Band Perry
- Zac Brown Band
Video of the Year
- “Better Dig Two” – The Band Perry Producer
- “Blowin’ Smoke” – Kacey Musgraves Producer
- “Highway Don’t Care” – Tim McGraw Featuring Taylor Swift & Keith Urban
- “I Drive Your Truck” – Lee Brice Producer: Karen Martin Director: Eric Welch
- “Mama’s Broken Heart” – Miranda Lambert
- “Two Black Cadillacs” – Carrie Underwood
THE 56th ANNUAL GRAMMY AWARDS
• When: 7 PM Central, 8 PM Eastern, 5 PM Pacific on CBS.
• Where: The Stapes Center, Los Angeles, CA.
• Host: LL Cool J
THINGS TO WATCH FOR
More Traditional Country Than One Might Expect
• Though the Grammy Awards are all-encompassing, there will be quite a bit of country, including classic country on the night with Merle Haggard, Willie Nelson, and Kris Kristofferson scheduled to perform. Just like we saw with the CMA Awards in November, there is a renewed push to at least include something for classic country’s often-overlooked fans. There will also be a tribute to the recently-passed Phil Everly. See a complete list of the country performances below.
Kacey Musgraves To Push Boundaries…again.
• Similar to the CMA Awards, Kacey Musgraves will be performing her song “Follow Your Arrow.” At the CMA’s, the line “roll up a joint” was censored by ABC. We’ll see if CBS follows suit. She is also up for Best Country Album, Best Country Song for “Merry Go ‘Round,” and the all-genre Best New Artist. With her status as a critic’s favorite, and the propensity for the Grammy Awards to traditionally be more about artistic appeal than commercial success, Kacey should at least be considered a strong nominee, at least for the country awards. The 56th Grammy Awards could be where the Kacey Musgraves experiment sticks if she walks away with the top prizes.
THE COUNTRY PERFORMANCES
• Merle Haggard, Kris Kristofferson, Willie Nelson, and Blake Shelton will all perform a medley of songs together (which one of these things is not like the others?). The performance will begin with Willie and Kris singing the Jimmy Webb-penned song “The Highwayman.” Then all the men will sing a version of “Mammas Don’t Let Your Babies Grow Up To Be Cowboys,” and end with Haggard’s “Okie From Muskogee.”
• Miranda Lambert & Billie Joe Armstrong will perform a Everly Brothers tribute. Phil Everly recently passed away, and Billie Joe Armstrong of Green Day recently released a tribute album to the brother duo with Norah Jones. No word why Miranda is the duet partner and not Norah.
• Kacey Musgraves will reportedly be performing her current single “Follow Your Arrow” that had the “roll up a joint” line censored by ABC during the CMA Awards in November.
• Hunter Hayes will be performing a brand new anti-bullying single called “Invisible.”
• Taylor Swift is rumored to be performing “All Too Well.”
• Keith Urban will be performing with John Legend in a salute to the Beatles.
• Hunter Hayes, Zac Brown, and Martina McBride will be award presenters.
• See the list of the non-country performances below.
These awards have already been given out as part of The Grammy Award’s per-televised events.
• Kris Kristofferson was presented with a Lifetime Achievement Award.
• Kris Kristofferson‘s first, self-titled album was inducted into the Grammy Hall of Fame.
• Dolly Parton‘s song “Jolene” was inducted into the Grammy Hall of Fame.
COUNTRY AWARD NOMINEES & PREDICTIONS
The most shocking story of this Grammy Awards season was the snub of Jason Isbell from even being nominated for the Americana Album of the Year. This is a perfect example that the Grammy community is very much on the outside looking in when it comes to country music, especially the sub-genres like Americana and bluegrass.
At the same time, The Grammy Awards have a better history of picking artists based on their artistic merit as opposed to their commercial success. Remember it was the Grammy Awards that recognized Johnny Cash’s comeback during his American Recordings years when the country music industry was still ignoring him. Similarly the Grammy Awards tend to vote more down political lines, like when they recognized The Dixie Chicks after their blackballing from country music. This all sets up well for an artist like Kacey Musgraves.
The Grammy Awards are notoriously hard to predict, but I’ll do my best.
Best Country Album
I see this as a two horse race. Though the women of country are such underdogs these days, Kacey Musgraves as the critical favorite, and Taylor Swift as the commercial favorite, have to be considered the likely winners. There’s an outside chance for Blake Shelton because of his high profile from The Voice, but he would be an upset. Aldean & McGraw have no chance. In the end I think Swift will take it, but don’t rule out Kacey.
- Jason Aldean, Night Train
- Tim McGraw, Two Lanes of Freedom
- Kacey Musgraves, Same Trailer Different Park – Other Potential Winner
- Blake Shelton, Based on a True Story…
- Taylor Swift, Red – Winner
Best Country Solo Performance
Probably a race between ‘I Drive Your Truck” that won the CMA, or Darius Rucker’s version of ‘Wagon Wheel.’ Outside chance again for Blake Shelton because he’s so well-known, and there will be pressure to give him something. Understand this award is mainly for the performance, not the song. But if ‘Mama’s Broken Heart’ wins, it would be a noteworthy win for songwriters Kacey Musgraves and Brandy Clark, and if ‘Wagon Wheel’ wins, for Ketch Secor of Old Crow Medicine Show, and Bob Dylan. Remember when Darius Rucker said he better be nominated or “Country Music’s Screwed“?
- Lee Brice, ‘I Drive Your Truck’ – Winner
- Hunter Hayes, ‘I Want Crazy’
- Miranda Lambert, ‘Mama’s Broken Heart’
- Darius Rucker, ‘Wagon Wheel’ – Other potential Winner
- Blake Shelton, ‘Mine Would Be You’
Best Country Duo/Group Performance
The Civil Wars have been Grammy darlings in the past, and may still win despite the band dissolving last year. Kenny Rogers and Dolly Parton would be the sentimental vote, but they should be considered a long shot. We may see Scott Borchetta assert his power here and have ‘Highway Don’t Care’ walk away with the hardware. It is cool to see a lot of good country names in this category, including Vince Gill. This is a very hard one to pick.
- The Civil Wars, ‘From This Valley’ – Other potential Winner
- Kelly Clarkson feat. Vince Gill, ‘Don’t Rush’
- Little Big Town, ‘Your Side of the Bed’
- Tim McGraw, Taylor Swift & Keith Urban, ‘Highway Don’t Care’ – Winner
- Kenny Rogers with Dolly Parton, ‘You Can’t Make Old Friends’ – Other potential Winner
Best Country Song
Another wide open field. Lee Brice once again has to be thought of as a front runner, but this very well may be Kacey Musgraves’ moment. This win would arguably mean more to her than any other nominee. And remember, Kacey and Brandy Clark also win if Mama’s Broken Heart’ is ultimately selected. I don’t really see Taylor Swift or Blake Shelton having a chance with this one.
- Taylor Swift, ‘Begin Again’
- Lee Brice, ‘I Drive Your Truck’ – Other potential Winner
- Miranda Lambert, ‘Mama’s Broken Heart’
- Kacey Musgraves, ‘Merry Go ‘Round’ – Winner
- Blake Shelton, ‘Mine Would Be You’
All Genre Awards
- Taylor Swift’s Red is the sole country album up for Album of the Year, and it is my pick for the winner. The other strong contender would be Daft Punk’s Random Access Memories.
- Kacey Musgraves is up for Best New Artist, but it is hard to see her outlasting Macklemore + Ryan Lewis, Kendrick Lamar, or Ed Sheeran.
AMERICANA & BLUEGRASS NOMINEES
Once again the Americana genre is saddled by its very narrow perspective in nominees. And except for Sarah Jarosz, they are all older artists this year. Compare this with last year when John Fullbright, The Avett Brothers, Mumford & Sons, and The Lumineers were all nominees. The Americana nominees really show how much the Mumford backlash took root, and how that was very much last year’s trend. Jason Isbell got completely screwed, and so did many other deserving artists.
Not going to make any predictions for these awards because they are all wide open fields. Anybody could win here. These awards will be given away before the televised portion of the awards, so check the Saving Country Music LIVE blog for winners.
***UPDATE – In the pre-televised Grammy presentation….
- The Grammy for Best American Roots Song went to Edie Brickell and Steve Martin for “Love Has Come For You“.
- The Grammy for Best Americana Album went to Emmylou Harris & Rodney Crowell for “Old Yellow Moon“.
- The Grammy for Best Bluegrass Album went to Streets of Baltimore from the Del McCoury Band.
- And the Grammy for Best Folk Album went to My Favorite Picture of You by Guy Clark.
Best Americana Album
- Emmylou Harris & Rodney Crowell — Old Yellow Moon
- Steve Martin & Edie Brickell — Love Has Come For You
- Buddy Miller And Jim Lauderdale — Buddy And Jim
- Mavis Staples — One True Vine
- Allen Toussaint — Songbook
Best Bluegrass Album
- The Boxcars — It’s Just A Road
- Dailey & Vincent — Brothers Of The Highway
- Della Mae — This World Oft Can Be
- James King — Three Chords And The Truth
- Del McCoury Band — The Streets Of Baltimore
Best Folk Album
- Guy Clark — My Favorite Picture Of You
- The Greencards — Sweetheart Of The Sun
- Sarah Jarosz — Build Me Up From Bones
- The Milk Carton Kids — The Ash & Clay
- Various Artists; Chris Strachwitz, producer — They All Played For Us: Arhoolie Records 50th Anniversary Celebration
Best American Roots Song
- “Build Me Up From Bones”
- Sarah Jarosz, songwriter (Sarah Jarosz)
- Steve Earle, songwriter (Steve Earle & The Dukes (& Duchesses))
- “Keep Your Dirty Lights On”
- Tim O’Brien & Darrell Scott, songwriters (Tim O’Brien And Darrell Scott)
- “Love Has Come For You”
- Edie Brickell & Steve Martin, songwriters (Steve Martin & Edie Brickell)
- “Shrimp Po-Boy, Dressed”
- Allen Toussaint, songwriter (Allen Toussaint)
OTHER GRAMMY PERFORMERS
- Beyonce and Jay Z will open the show with “Drunk In Love.”
- Gary Clark, Jr.
- Trombone Shorty & Orleans Avenue
- Sara Bareilles featuring Carole King
- Daft Punk featuring Nile Rodgers, Stevie Wonder and Pharrell Williams
- Kendrick Lamar and Imagine Dragons
- Macklemore & Ryan Lewis
- Paul McCartney and Ringo Starr
- Metallica featuring Lang Lang
- Nine Inch Nails, Queens of the Stone Age, Dave Grohl and Lindsey Buckingham
- Katy Perry featuring Juicy J
- Pink featuring Nate Ruess
- Robin Thicke featuring Chicago
Oh Kacey, what are we going to do with you?
Mid January is the season that most of the big mainstream country music acts unveil their touring plans for the year, and as Blake Shelton was announcing the “Hide Your Daughters” tour presented by Taco Bell, and Jason Aldean announced the “Overlords of Auto-Tune” tour with Florida Georgia Line and Tyler Farr, country music critical favorite Kacey Musgraves announced she would not be touring with one of her country music bunk mates, but of all people, the buxom purple-haired pop star Katy Perry. Kacey is reportedly writing with Katy too.
Some Kacey Musgraves’ supporters were disappointed, or even outraged, just as many of those same supporters were disappointed last year when she went out on tour with Kenny Chesney. As if Kacey, who despite her disposition of being slated beside artists like Jason Isbell instead of Jason Aldean, and Brandy Clark instead of Brantley Gilbert, isn’t still very much an artist existing in the highest reaches of the mainstream country music industry and all the trappings thereof. Maybe in some fan’s music brains she belongs on the club and theater circuit so they get to see her in a more intimate setting. But to Kacey’s label, there’s money to be made, and an artist to launch so she can eventually go on her own arena tours.
Others see this as an opportunity to spread the country music gospel—the ol’ theory of music osmosis that we sometimes see assigned to artists like Taylor Swift and Florida Georgia Line. As if some 15-year-old girl is going to hear Taylor Swift and be inspired to lip sync in front of a full-length mirror to Ralph Peer’s primitive recordings of The Carter Family, or similar circumstances might transpire amongst the glitterfaced crowd at a Katy Perry concert because Kacey Musgraves looks so good in hot pants up there on stage. Sure, Kacey will likely win more fans for Kacey Musgraves, and ultimately that’s the point. But let’s tap the brakes on thinking this will be some monumental step for country music.
More importantly, what this concert pairing seems to allude to are important trends in both country music, and the career of Kacey Musgraves.
If it wasn’t clear that Kacey’s label Mercury Nashville had no idea what to do with her before, it is pretty evident now. The one thing we do know about Musgraves is that she enjoys the utmost in label support—arguably unparallelled and unprecedented in the industry. Remember when Kacey was nominated for the ACM for Female Vocalist of the Year in 2013 before she had even released a album or had a Top 10 single? Or how about at the 2013 CMA Awards when she received 6 nominations, as many as Taylor Swift and more than anyone else? Kacey is also up for 4 Grammy Awards here in 2014.
Of course Kacey’s work as a songwriter helped pad these numbers, and not to allude that she didn’t deserve these nominations—they were much deserved, and a sign of the righting of the country music ship in 2013. But a brand new artist like Kacey Musgraves does not receive these types of industry-leading accolades, especially when they’re not backed by sales numbers, without the undying and tireless support of a label looking to launch an artist they believe in both as an artistic and commercial success.
But that has been the biggest problem with Kacey—the commercial success. Compared to many of the other critical darlings Musgraves was amongst on various outlet’s “Best of 2013″ lists, Kacey’s sales are astronomical. But compared to her country industry peers, they’re paltry. Kacey’s album Same Trailer, Different Park has just barely peaked over 300,000 copies sold. For comparison, all the other albums nominated for the CMA Album of the Year in 2013 have at least sold 1 million copies.
Kacey has also yet to have a Top 10 single, with “Merry Go ‘Round” coming the closest at #14. Her latest two singles “Blowin’ Smoke” and “Follow Your Arrow” both stalled out at #31 and #28 respectively, despite a big radio push and big budget videos. Still not bad numbers, but nowhere near the level Mercury Nashville must be wanting, or expecting from an artist that has achieved such industry accolades and undying label support.
Then there was the controversy about “the look” Kacey was caught giving while they were announcing the candidates for Female Vocalist of the Year at the CMA Awards, and more recently, the Twitter brushup she got into with influential Clear Channel DJ Bobby Bones. As some pointed out, Bobby Bones at the time had more followers on Twitter than Kacey did, speaking to both the powerful influence of Bones, and the lack of wide support behind Musgraves. In the social network era, it’s not enough for an artist to release good music. Like the modern day NASCAR driver, they’re expected to be media savvy, not just skilled at their discipline to achieve at the top level.
Hence, a change of plans for Kacey. Some new scenery. Maybe country and specifically country radio is not going to be as receptive to Kacey as first thought. Maybe they’re not ready for the paradigm shift just yet. Maybe she’s too edgy. So go out there and find some more fertile ground. And hell, both her and Katy Perry have songs about kissing girls….
And this is where Mercury Nashville and Kacey seem to be miscalculating. Though Kacey is well-recognized as a critical success and symbolizes a new type of country star, they’re falling back on their old habits of how to present her to the masses by using marketing points. They release “Blowin’ Smoke,” hoping to capitalize off the popularity of pot in popular culture, despite the song not referencing reefer directly. “Follow Your Arrow” seemed to be released to radio not for its underlying message, but because the edginess of the content might stir controversy and create interest in the song and Kacey.
Instead of handling Musgraves like the next Loretta Lynn, leading the way by addressing deep cultural issues, they’re trying to make a her a one-trick pony to be popularized through buzzwords and politicization. What happened to letting the music speak for itself, and what happened to all the momentum built up by the success of “Merry Go ‘Round”?
Mercury Nashville was also at the helm for the lost opportunity with another artist that was a critical success and achieved the highest industry accolades at awards shows, but ultimately didn’t stick in the wide public perception: Jamey Johnson. Granted, Johnson is in the midst of a contract dispute and has been sitting on his writing hands now for years. But this was another artist that country fans clamoring for more substance in the genre could get behind, but so far has yet to make a long-term impact in the mainstream industry. The career of Jamey Johnson right now is very much adrift.
Don’t get me wrong, this isn’t all Mercury Nashville’s fault. You can’t say they aren’t trying, and trying in an industry that is notoriously suspicious of change and slow to implement it, and that is looking to appeal to what are many times simple-minded fans who don’t want to look for the deeper meaning in songs.
Kacey Musgraves is too good for mainstream country, while at the same time maybe too edgy for the rank and file of country music’s traditional arm. Like Scott Borchetta of Mercury Nashville rival Big Machine Records said recently, the industry must dig a little deeper, and Kacey Musgraves is a positive sign of the industry committing to that. And it’s not like Musgraves hasn’t made back the investment her label has made in her, but the stretch of the Katy Perry pairing makes it appear like they want more from that investment.
What this all speaks to is a deeper, more fundamental issue: If Mercury Nashville, or any other label cannot create successful, or at least mainstream-sustainable careers out of these critically-acclaimed artists, and are forced to reach to outside of the country genre for support, then what is the motivation for these labels and the industry to continue to burn attention and capital on them?
In this respect, Kacey Musgraves must work, and the Katy Perry concert tour must be successful in Kacey’s pursuit of her true fan base. Because if not, Kacey could set the precedent for the rest of the industry of why to not invest in substance.
Meanwhile, all Kacey Musgraves wants to do is write, record, and perform songs. And if she is ultimately going to be successful, that is what she must focus on.
Wednesday is the beginning of the someteenth season of American Idol, and it will feature a new slate of judges that will include former Idol judge Jennifer Lopez, an interesting new selection in Harry Connick Jr., and last year’s lone holdover, country star Keith Urban.
Struggling with years of declining ratings, American Idol is looking to rebrand itself in the new season by fielding a panel of judges who will have great chemistry—something that was not the case last year when judges Nicki Minaj and Mariah Carey had a public and publicized spat early on in the season, resulting in Minaj walking off the production set, and moans of ratings baiting being leveled by critics.
But one of the overlooked elements of the Minaj / Mariah story is how it was centered around the age old country music debate. It started when Keith Urban took a contestant to task for saying that she “did the country thing,” implying that she had some fleeting interest in the genre, but it wasn’t where her heart was. Urban’s contention was that either you’re country, or you’re not. Mariah Carey somewhat agreed, and as the judges began asking the contestant questions about her musical background, Nicki Minaj joined in saying, “Why are we picking her apart [over] a country comment?” and eventually stormed off the set during the impending verbal melee.
Keith Urban, similar to artists like Darius Rucker and Rascal Flatts, have always been solidly pop or contemporary country, but have been insulated to some extent from the brunt of the country music culture war from rarely crossing the line into the drekish trends of things like country rap that artists like Blake Shelton or Jason Aldean have dabbled in. But recently when Keith Urban was interviewed by Michigan Live and was asked if definitions like “country,” “rock,” and “pop” are important or meaningless, Urban replied,
Totally meaningless to me. I make music and people decide what it is. That’s it. I don’t think about it any more than that. I grew up as a country artist, but had very contemporary country influences. Contemporary country music – well, what that is, is what you hear on the radio. People have this relentless ongoing conversation about what’s country and what isn’t. It’s never changed. If people really really were country fans, they’d know it’s always been there, in every single decade.
What’s great about country is its simple, organic way of absorbing pop inspirations into its sound, and pulling the genre forward. It’s been that way since the ’50s. That period, the mid-to-late ’50s, when rock ‘n’ roll exploded, it started to take over the country audience. Guys like Chet Atkins intentionally started to put string sections on country songs, which had never been done before. Everybody at the time thought that was sacrilegious – they said, “That doesn’t sound anything like Ernest Tubb. What are you doing?” But it was a way for them to keep the sound moving forward and expand the boundaries.
What’s happening today is, in the words of David Byrne, same as it ever was. (laughs)
What Urban points out about pop and how it has always been a part of the country genre is completely true, and this continues to be one of the biggest oversights of some traditional and purist country fans, eroding their arguments against the infiltration of pop in country. However what Urban’s comments do not take into account is the degree of cross-genre influences that country music is facing today, and how it might be eroding the integrity of the genre in the long term. Yes, artists like Eddie Arnold and Patsy Cline were seen as pop stars within the country format in their time, but their music was still a timeless treasure, verified by it’s continued popularity half a decade later.
And obviously, Keith Urban’s comments seem to counter what he said on American Idol at this time last year. People have a right to change their minds, but Urban’s new perspective on the lack of importance of the term “country” may be a sign of just how much that term and the importance behind it have suffered in the last year.
Today it was announced that Austin, TX would be the site for iHeartRadio’s first ever dedicated country music festival, transpiring at Austin’s Frank Erwin Center on March 29th, with a list of top tier headliner talent including Eric Church, Luke Bryan, Jason Aldean, Florida Georgia Line, Lady Antebellum, Carrie Underwood, Jake Owen, Hunter Hayes, and others to be announced. iHeart is the online radio streaming arm of American radio monolith Clear Channel, and rising Clear Channel “country” personality Bobby Bones, who got his Clear Channel start on Austin’s pop station, will serve as host.
There is so much that is ill-conceived about this, I’m not sure where to start. iHeart has been throwing “festivals” for a while now, but their traditional home has been Las Vegas. Clearly iHeart wanted to find an alternative to the obvious selection of Nashville, where they would have to compete with much more well-established country events clogging the civic calendar. But throwing a corporate country event in Austin, especially at that time of the year will be about as popular in Austin as running over a bicyclist in your Hummer.
About all this festival will be good for when it comes to the Austin populous will be as a curiosity for hipsters to oogle at through their Sally Jessy Raphael glasses as they ride their fixie bikes past the spectacle, sipping on raw food smoothies on their way to brainstorming sessions devising ways to defund Monsanto by setting up micro loans to African women and targeted eco-terrorism strikes.
The general Austin, TX population has so little interest in this iHeartRadio lineup, it’s laughable that iHeart can’t even be perceptive enough to add even one or two local names to help dull the pain of such an obviously imported corporate country bill. Kudos to whoever in the local Austin government conned iHeart into thinking that Austin’s east downtown corridor is a destination spot for people who are willing to travel hundreds of miles to hear Jason Aldean sing “1994.” Instead of the garish finery of the Las Vegas strip, Luke Bryan and Florida Georgia Line fans can look forward to legions of homeless peddlers clogging their walking path, an army of construction cranes piercing the skyline in their headlong effort to erect an empire of prefabricated McCondo monstrosities, the 3rd worst traffic snarl in the United States of America, and crumbling fair trade coffee shops oozing with unbathed, deadlocked career students preaching that 9/11 was a conspiracy.
The worst part about iHeartRadio’s country festival might be the timing. Despite whatever best efforts they implement in regards to promotion, locally the event will be dwarfed by South by Southwest the week before, boasting thousands of free concerts, showcasing both local and independent talent, and big national names. South by Southwest is arguably one of the biggest music festivals in the entire world in regards to breadth and the amount of performances that transpire all across Austin over a 5 day period.
And don’t forget that Rodeo Austin also happens the week before, and is featuring its own lineup of big names, including Loretta Lynn, Dustin Lynch, Thompson Square, Chris Young, Josh Turner, Willie Nelson, Eli Young Band, Lee Brice, Scotty McCreery, and Dwight Yoakam. There’s already legions of Austinites that provision up when March comes and never leave the homes because of the nightmare South by Southwest and Rodeo Austin bring to their fair city. The idea that they’ll peek their head out and head downtown just because Hunter Hayes is finally making his way to Austin is quite ripe.
So will the iHeartRadio Country Festival be a colossal failure? Of course not, because they have the backing of the biggest corporate country network in the world to help promote it. Pliable corporate country music fans from all across the country will be more than happy to burn vacation time to see their favorite Budweiser and designer jeans sponsors in one place, edifying them with the finest of Music Row’s formulaic pap filtered through Auto-tuners.
Stock up on cans of Axe Body Spray and rape kits Austin, you’ll need ‘em.
So here you go ladies and gentlemen, the worst of the worst that 2013 had to offer in country music. As you might suspect, a list of mainstream country’s worst misdeeds in 2013 is mostly populated by an ear-serrating cacophony of country rap songs. With only a couple of exceptions, country rap has replaced what last year at this time was a parade of laundry list-themed songs.
PLEASE NOTE: To qualify for this list, the song had to be released as a single. And with such a crowded field, only the worst of the worst were selected. Feel free to share your most vilified songs of 2013 below.
Jason Aldean – “1994″
When I originally ranted about this song in February, I called it the worst country song ever. If I only knew what the rest of 2013 would have in store.
“In Music Row’s everlasting quest to train all of its resources on scouring America to unearth only the finest, most purest form of audio diarrhea, they have struck the mother of all motherloads originating from the unholy bowels of Macon, Georgia’s Jason Aldean. Yes Nashville, pat yourself on the back, let all of the Auto-Tuned stars sing out in unison as Stratocasters bray out a cacophony of stadium rock riffs in unified celebration–you have officially discovered the shittiest country music song to ever touch the human ear drum.
Do I understand the levity and the long history of country music that must be considered to declare “1994″ the worst country song that has ever been released? Yes, yes I do. And yet I still stand firmly behind that opinion.” (read full rant)
Florida Georgia Line – “Cruise”
What can make a bad song worse is when it becomes so ubiquitous throughout society that it pursues you like a bad nightmare—playing at the grocery store, blaring out of the car next to you at a red light. “Cruise” was officially released in 2012, but since this was the year it achieved historical success as the longest-running #1 in the history of the country genre (though that record when you look deeper into the numbers is somewhat spurious), it would only be fair to include 2013′s summer anthem here.
“Originating from the Republic Nashville imprint of Big Machine Records, the duo consisting of Tyler Hubbard and Brian Kelley met while attending the Mike Curb College of Music at Nashville’s private and exclusive Belmont University. I know, right? Doesn’t get more country than that! Apparently they were both enrolled in the “How To Be A Upper Middle Class Douchebag But Pretend To Be A Country Boy And Filch Rednecks Out Of Their Hard Earned Money, 101″ class. They made eyes across the classroom, and afterwards discussed their mutual desire for world music domination over $175 haircuts, manscaping, and colonics. Next thing you know, Florida Georgia Line is born.
Florida Georgia Line is a horrible combination of Rascal Flatts pretty boy hyper-pop, and designer jeans Jason Aldean “backroad” laundry list bullshit. They are everything bad about quotation mark “country” in 2012 combined into one big stuffed crotch sandwich.” (read full rant)
Blake Shelton – “Boys ‘Round Here”
“The Decider’s” offering to the 2013 resurgence of the country rap trend.
“Just when we thought the American public was finally getting wise to the fact that country rap is a Cancer of Western Civilization, needing to be cut out and radiated like the grapefruit-sized, puss-filled tumor it is, here it comes roaring back like a raging case of bleeding hemorrhoids.
“Blake Shelton’s “Boys ‘Round Here” is songwriting by algorithm and analytics, fashioning together words and sounds known to have the widest impact on mainstream radio’s weak-of-mind demo. The “boys” in the title of “Boys ‘Round Here” is fitting, because this song is rank immaturity. It’s the audio equivalent of sneaking out of your mom’s house to smoke pot behind a Pizza Hut.” (read full review)
Montgomery Gentry – “Titty’s Beer”
Yes, this actually exists, was even released as a single with an accompanying video.
“This isn’t a cry for relevancy folks, this is a blood-curdling scream; a banshee yawp from the innermost depths of holy hell, destined to beset the eardrums of all rationally-minded music listeners with a cursed memory so potent and terrible, it will be well-documented as a clinically-certified precursor to the most acute and debilitating onset of post traumatic stress disorder, terrorizing the very sanity of any semi-intelligent human.
“If a truly good country song is represented by a delicate pair of supple female breasts, then Montgomery Gentry’s “Titty’s Beer” would be a rack of cellulose-addled man boobs replete with coarse and graying disheveled chest hair, pock marked with skin Cancer and bisected by a grizzly double bypass scar. Originally recorded by the Country Music Grimmace Colt Ford, “Titty’s Beer” is an ode to idiocracy and a battle hymn for the forces of misogynistic cultural reduction. The premise doesn’t even make sense, but you can see some oaf going, “Well hell. I like titties, and I like beer, so….” (read full rant)
Joe Diffie feat. D. Thrash – “Girl Ridin’ Shotgun”
What is worse than Jason Aldean’s “1994″ ? Joe Diffie’s “answer” song.
“Did you feel that Oklahoma? That was the earth tremor caused by your native son Joe Diffie selling out so violently it measured 2.1 on the Richter scale. The mulleted, cop mustached 90′s semi-star has released an “answer” song to what many consider the worst song in country music history, Jason Aldean’s country rap “1994,” and it is as embarrassing as puberty.
“The beats for “Girl Ridin’ Shotgun” sound like they were composed by a 7th grader who just snorted his ADD meds, just like all of the beats of the Jawga Boyz’s bombastic and trashy tracks. The beat doesn’t even get five seconds into the song without going off meter. There’s biscuit crumbs in Joe Diffie’s mustache that could compose a better beat. And then D Thrash’s first line doesn’t even rhyme. Are you effing serious with this song? “Girl Ridin’ Shotgun” makes me want to make out with my cousin and bet on a dog fight.” (read full rant)
Tyler Farr – “Redneck Crazy”
There’s bad, and then there’s downright wrong. Tyler Farr’s “Redneck Crazy” crosses that line.
“Tyler Farr’s “Redneck Crazy” isn’t for jilted male lovers looking for solace, it is for socially awkward, introverted, creepy-ass chronic masturbaters that hold a minor in megalomania. This song doesn’t need a rant, it needs a restraining order and ankle bracelet. It’s an insult to both the terms “redneck” and “crazy.” True rednecks ride their problems out, rub their wounds in the dirt and move on, not whine about them like a panty waist, eliciting threats and enlisting their loser friends to enact adolescent acts of vandalism as some sort of self-righteous recompense.”
“About the only thing this song is good for is turning in for state’s evidence of why Tyler Farr shouldn’t be allowed within 200 yards of his ex’s or any elementary school.” (read full rant)
Luke Bryan – “That’s My Kind Of Night”
Outmatched only by Florida Georgia Line’s “Cruise” for the longest-charting single in 2013.
“Let’s start this off by dispatching with the 700 lb gorilla in the room and say what everyone is thinking, but few are willing to say publicly: The only reason Luke Bryan’s “That’s My Kind Of Night” is a #1 song is because bored suburban moms and their daughters want to fuck him. Luke Bryan’s music has the nutritional value of notebook paper, and is the clinical result of when an entertainer spreads his arms wide in a submissive pose and relents his entire will to the country music industrial complex, saying “Do your worst.” Luke Bryan has no soul. He is more machine than man. He has the integrity of a Guatemalan mule bridge with a squadron of M1 tanks trying to cross it. “That’s My Kind of Night” is like a diabolically-specialized form of audio diarrhea that marries the ideal ratio of water to solids so when it is sent through an industrial fan it inflicts the widest collateral damage on as many people as possible.
“A little Conway a little T-Pain?” Yep, that pretty much sums up American music in 2013, sans the Conway—replaced by Luke Bryan and his vomit-inducing country rap trend-chasing ilk.” (read full rant)
Jerrod Niemann – “Drink To That All Night”
Listening to this song is as traumatic as waking up naked in a stranger’s bed, with pacifiers and spent glowsticks littering the sheets around you, other people’s bodily fluids encrusting on your bare skin of your midriff, your eyebrows shaved, and the unsettled sense like you spent the night before indulging in designer drugs and weird sex against your will. Yes ladies and gentlemen, in 2013, country music when there—to the techno-rave glitterdance sounds of Jerrod Niemann and his woman’s ball cap that he got on clearance from Ross.
When the words kick in to this awful, awful song, you think it must be some sort of Saturday Night Live parody. But no, this song is a serious single from Jerrod. Luckily it skidded off the charts pretty rapidly, but “Drink To That All Night” symbolizes another new low for country music in 2013, with an excruciatingly-boring video.
- Darius Rucker’s version of “Wagon Wheel,” spared only from the above list because in the end “Wagon Wheel,” however ubiquitous, is still a good song.
- Justin Moore’s country rap “I’d Want It To Be Yours,” spared from the above list because it was never released as a single, and because it was released at the insistence of Scott Borchetta.
- Brad Paisley’s haphazard and ill-advised “Accidental Racist.” Also never officially released as a single.
- Any song from Florida-Georgia Line, including the stupid “Shine On” and the just-released single “It’z Just What We Do.”
Celebrity news site TMZ has posted pictures taken in July of country artist Luke Bryan drinking while driving his truck. In the pictures Luke can clearly be seen enjoying a can of Busch while behind the wheel, keys in the ignition. Because the drinking and driving occurred on Luke Bryan’s private ranch in Tennessee though, the police say there is nothing wrong with what Luke Bryan did, and no laws were broken.
However, paired with another picture Bryan posted in late September of his truck submerged in a pond, and the increasing pervasiveness of lyrics in popular country songs condoning drinking and driving, the incident speaks to a deeper, smoldering problem facing country music and the ethics behind lyrics meant for widespread consumption.
2013 has seen popular country music shed its family friendly identity more than any other time in the genre’s history, fueled by country’s big male stars and their laundry list / country rap style of music. Three of the checkboxes on the requirement sheet of country’s current checklist songs are beer, trucks, and drinking beer while driving trucks. The precedent was set with Jason Aldean’s blockbuster country rap “Dirt Road Anthem” that went on to become the best selling song in 2011.
I’m chilling on a dirt road. Laid back swerving like I’m George Jones Smoke rolling out the window. Ice cold beer sitting in the console
Luke Bryan’s big 2013 country rap hit “That’s My Kind Of Night” follows a similar lyrical thread.
I got that real good feel good stuff . Up under the seat of my big black jacked up truck
Rollin’ on 35s. Pretty girl by my side You got that sun tan skirt and boots. Waiting on you to look my way and scoot
Your little hot self over here. Girl hand me another beer, yeah!
Country music has gone from the format of cautionary tales to condoning irresponsible behavior because it fits some skewed vision of party culture. Drinking themes and much worse including murder have always been part of the country music’s thematic pull, but never has reckless behavior that very well could resort in the injury or death of others been dealt with in such a glamorous light, especially when much of the target demographic and appeal of said music resides under the legal drinking age. An average of over 10,000 people die every year due to drunk driving in the United States, and it accounts for roughly 1/3′rd of all traffic fatalities.
If Luke Bryan wants to drive drunk on his own property or crash his truck into a pond, that’s his prerogative. But if we’re spending millions of dollars as Americans to attempt to curb the tide of deaths and injuries by drunk drivers, it would be nice if Music Row wasn’t spending so much time and money endorsing it.
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Remember back in the 80′s and 90′s when the big stereotype about country music was that it was all about losing your job, your spouse leaving you, your truck breaking down, and your dog dying? Well now there’s a new set of negative stereotypes being engraved in the face of country music. With so many mainstream male artists drinking from the same well of lyrical themes and using the same select few songwriters, songs about beer and trucks are becoming our generation’s vilified country caricature.
For a few years now, distinguishing country music listeners have been sounding the alarm about laundry list/checklist songs and how their repetitiveness and permeation of the format could lead to burnout. But unwavering, their numbers have increased and their chart performance has improved as the demographics of country music shift away from its traditional audience. But like most trends and fads, especially ones that swap sustainability for the sugar rush of here-and-now success, country’s tailgate, truck, and beer songs could be reaching a critical mass point.
Much of country music’s recent criticism from artists has centered around the beer and truck thread.
Kacey Musgraves when asked what trend needed to die out, she said, “Anyone singing about trucks, in any form, in any song, anywhere. Literally just stop – nobody cares! It’s not fun to listen to.”
Zac Brown said, “If I hear one more tailgate in the moonlight, daisy duke song, I’m gonna throw up.”
And Jake Owen said, “We need more songs than just songs about tailgates and fuckin’ cups and Bacardi.”
Yes, artists like Zac Brown and Jake Owen might be hypocrites for criticizing songs that are similar to ones they’ve released themselves, but at the same time their words may even hold more weight than some traditionalist who may just come across as bitter. Hatred for truck songs has permeated the highest ranks of country stars, and as the quote from ABC’s Nashville at the top of this page illustrates, it is also becoming institutionalized in culture. Multiple stories have ran in major publications about what is being labeled by some as the “bro country” phenomenon, allowing the knowledge (and disgust) for the truck song trend to reach outside the confines of countrydom to casual music listeners.
Then you take a look at the charts where a few months ago beer & trucks songs were dominating the top spots, and we’re beginning to see some churning and turnaround. Two truck songs, Florida-Georgia Line’s “Cruise” and Luke Bryan’s “That’s My Kind of Night” positively dominated the #1 spots on Billboard’s Country Hot 100 for the majority of 2013, but right now sitting at the top is the Keith Urban / Miranda Lambert duet “We Were Us,” making for the first time a woman has seen the top of the charts in months, with a song that bucks the trend of starting out with a hip-hop beat, and instead builds out from an acoustic rhythm. Taylor Swift also cracks the Top 5 with “Red,” and even even the Florida Georgia Line #4 entry “Stay” is a much more subdued track that focuses more on story compared to their laundry list anthems “Cruise” and “Shine On.”
Even more importantly is what country music has coming up for 2014. Where 2013 was heavy with releases from truck song titans like Luke Bryan, Jason Aldean, and Blake Shelton, the two biggest releases slated for country in 2014 are Taylor Swift, and a much anticipated new album from Eric Church. When Church released his latest single “The Outsiders,” he couldn’t have struck a more discordant tune to the truck song trend. Say what you will about Eric Church or “The Outsiders” specifically, but the song was a gorilla-like chest-pounding announcement from Church to not expect him to pander to the truck song formula. Though “The Outsiders” has pulled back in popularity from its bellicose debut, Eric Church’s new album may just be the monster to chase away the country truck trend.
Time will tell if we are beginning to see the erosion or burnout of country truck songs, and if so if it will usher in a new trend of more story-based music or something even more awful. But with the weight of public opinion swelling against them, it’s hard to see this trend lasting much longer.
So Eric Church, you think that genres are dead? Well then why don’t you turn in your Country Music Association Album of the Year trophy, your Academy of Country Music Album of the Year trophy, your Academy of Country Music award for Best New Solo Vocalist from 2011, and your Academy of Country Music award for Vocal Event of the Year that you won with your country-rapping douche buddies Jason Aldean and Luke Bryan as you march your aviators-wearing ass straight out of the non-existent country genre that has made you millions upon millions of fucking dollars and see if the rock world will embrace your “Outsiders” Bon Jovi rehash and bestow awards, coast to coast radio play, and industry support to your ungrateful, arrogant ass.
You’re right Eric, genres are dead, and it’s because assholes like you have killed them by making murky, soulless, rootless pap to appeal to the wide masses while the roots of music wither, and there’s no better evidence of that than your latest rock opera being rammed down the throats of what are supposed to be country consumers, throwing the homogenization of the American culture into hyper drive so that you can hold on to your mainstream relevancy and make even more money stained with the blood of what country music once was.
If you want to play rock music because you think that country is too restrictive, then by all means Eric, do your worst. Play the music you want. But then stay the hell off of country radio, don’t perform at the country awards shows, and forfeit your trophies to the runners up if the country genre is meaningless to you or meaningless in general. Who do you think laid the groundwork for people like you to have untold success? Did you not notice the names as you were trouncing on the way to the top? You can’t use the legacy of country music to make it to the top of the hill, and then disregard it once you’re there.
Eric Church is a hypocrite ladies and gentlemen. From saying he’d never call himself an Outlaw while simultaneously selling Outlaw merch, to now saying genres are dead while shamelessly reaping the rewards of one. Remember the Eric Church song “Lotta Boot Left To Fill”? Remember the lines “I don’t think Waylon done it that way. And if he was here he’d say Hoss, neither did Hank,” and “You sing about Johnny Cash. The man in black would’ve whipped your ass”? What would Hank, Hoss, and Cash have to say to someone claiming the genre they worked their entire lives in and shed their blood for didn’t matter? I know what they’d say. “Eric who?”
And the sad part is yes, when talking about the very top of mainstream country males, Eric Church outpaces his peers as far as quality and innovation, his latest “The Outsiders” single rocketing up the charts notwithstanding. But that may say just as much about the lack of quality in his peers as it says about Eric. It’s his damn attitude, the arrogance bordering on downright hubris, and the uncaring if he completely tears down the country genre, or really anything on his way to the top as long as he gets his.
The death of genres in mainstream music means the death of contrast, and this is something that shouldn’t be regarded flippantly, something that shouldn’t be celebrated just because it secures the financial success of mono-genre artists like Eric Church for the future. It means that music will have that much less color and diversity moving forward and be much more about commercial success than making an artistic mark.
And that’s a sad commentary.
Yes, it was still 2013, and it was still a modern country music awards show, and so traditional and independent-minded country music fans still had plenty to look sideways at if they were brave enough to watch. But that doesn’t mean that the 47th Annual Country Music Association Awards wasn’t a retrenching of the roots and substance in the genre’s most important institution, and a sign of hope for country fans who’ve simply been asking for years for balance to be reinstated into the mainstream country format.
Luke Bryan, who was the big winner at the ACM Awards in April, was completely shut out. So was Jason Aldean. Florida Georgia Line wasn’t, but this was understandable because of the historic success of their song “Cruise,” but they were bested by Kacey Musgraves in the New Artist of the Year category. And in the end, George Strait, King George, bested everyone by taking home the most coveted trophy in country music, the CMA for Entertainer of the Year.
Was it a parting gift for Strait after announcing his final tour? Of course it was. But it doesn’t mean it wasn’t deserved, and it doesn’t mean it isn’t sweet, both for George, and for traditional country fans, even the ones who may not mark themselves as big George Strait supporters. Strait’s win marks the first time in a decade a true country artist has won the trophy. Alan Jackson, George Strait’s duet partner for “He Stopped Loving Her Today” during a stirring George Jones tribute, was arguably the last traditional-leaning artist to win the award in 2003.
Which leads us to the performances of the 47th Annual CMA Awards. Along with the somewhat abridged, but heartfelt George Jones tribute, there was a tribute to Kenny Rogers, who was presented with this year’s Willie Nelson Lifetime Achievement Award—an award that was founded last year. Lo and behold, a steel guitar made an appearance early in the presentation during Kacey Musgraves’ set, despite the disappointment of the lyric “roll up a joint” in her song “Follow Your Arrow” being censored out. Taylor Swift of all people, offered a stripped down acoustic set that featured Vince Gill, bluegrass maestro Sam Bush, Alison Krauss, and not just as backing musicians. Both Gill and Krauss took turns on verses, no doubt stimulating not a few younger fans to take to Google to figure out who these artists were, facilitating that important initial spark of discovery.
Even Luke Bryan, whose performance of “Country Girl (Shake It For Me) on the 2011 CMA Awards seemed like the pinnacle of indecency for a country awards show at the time, offered a somewhat stripped down, heartfelt performance that featured songwriter Chris Stapleton. In fact, there wasn’t really any performances that seemed gratuitously over-the-top. Apparently there was a moratorium on choreographed backup dancers for the 2013 CMA’s, and about the only pyrotechnics aside from Eric Church’s over-the-top performance of “The Outsiders” were some sparks streaming from beneath the wheels of a simulated boxcar during Jason Aldean’s song “Night Train.” Even the cross-genre moment was when the well-beloved Dave Grohl joined the Zac Brown Band on drums—a stark contrast from the rappers and Kid Rock’s of the world that have somehow become regular fixtures of country award shows recently.
What does this all mean? For one, it means there is a reason to be positive. Whether it is because of the collective crying out about the disenfranchising of country music’s traditional and independent fans through events like Blake Shelton labeling them “Old Farts and Jackasses,” or whether it is the tangible demographic data that shows that country fans as a whole want more traditional country in the country format, someone, somewhere is listening, and some of the change fans have been clamoring for in recent years is finally being enacted.
All that has been asked for is balance—a place at the table for alternatives to pop country—and though the ratio may still be somewhat out-of-whack, some balance was reinstated during the 2013 CMA Awards. If there was another winner during the event beyond the award winners, it might be CMA producer Robert Deaton. Deaton told the Tennessean on Nov. 1st, ““I think the biggest thing I want to strive for is balance. I’m talking about balance of who we are as a music and a genre because we are a lot of different things, you want to be current but you also want to pay tribute to the shoulders that we stand on.” And Robert Deaton backed up those words in the presentation. As much as the censoring of Kacey Musgraves may be a black eye of the 2013 CMA’s, it was done to make sure families and traditional viewers were not offended.
Furthermore, the proof that balance works is in the ratings pudding. The ratings for the CMA Awards was up by 21 percent over last year’s telecast in viewers and 24 percent in the key demographic. The growth was particularly big among young males, with ABC touting a nine-year high among men 18-34.
In September, Saving Country Music published 12 Reasons To Be Positive About Country Music in 2013, and the 47th CMA Awards was yet another one to add to the list. However slowly, however incrementally, and however offset by the continuing lows of some of country music’s mainstream males, things are changing. It had been years since true country fans felt a reason to stand up and cheer and had a reason to feel represented at the CMA Awards. But the 47th installment offered a few of them, and one very big one.
In mid October, Toby Keith lent his voice to the litany of artists criticizing modern country music in one capacity or another, specifically taking on the recent country rap trend, telling Country Weekly, “You hear the hip-hop thing start kicking in, and you start going, ‘Is that what we gotta do now to have a hit? Is that what I need every one of my songs to sound like now?’” The comments came in the context of Keith explaining how hard it is to get a country-sounding song played on the radio.
In another recent interview with Country 92.5 in Connecticut (listen below), Keith expanded on his statements, saying that his remarks weren’t a “diss,” but then doubled down on his opinion that rap shouldn’t be a predominant part of the country format.
I started that stuff with “[I Wanna] Talk About Me”… I think it’s cool to step out and do something like that, I just don’t think it’s cool to make a living doing that….It’s cool to step out and do some R&B stuff. It’s cool to step out and do some rock stuff. It’s cool to do traditional country. But at the end of the day if you’re gonna be a country artist, I don’t think you just keep making a living off of turning country into hip-hop songs. I think the hip-hop artists would get tired of listening to you do bad country.
Artist like Colt Ford, Cowboy Troy, and even more mainstream artists like Florida Georgia Line regularly release singles that feature country rap, while some of country’s biggest male stars like Luke Bryan and Jason Aldean have released multiple country rap singles. Keith also opens up the conversation about how country rap is viewed by a hip hop community that may be just as disappointed about what is happening with rap as many country fans are with country when the two formats mix.
Toby Keith’s “I Wanna Talk About Me” released in 2001 is given credit for being one of the first modern country rap songs, though at the time Keith was quoted as saying about it, “They’re going to call it a rap, [although] there ain’t nobody doing rap who would call it a rap.” The song was written by Country Music Hall of Famer Bobby Braddock, and was originally slated to be released by Blake Shelton before being turned down as “too risky.” Later in the interview with Country 92.5, Keith left open the possibility of doing country rap in the future, but only as a one-off collaboration instead of a sonic direction for his music.
My son played on an elite football team that played Canada in San Antonio and Snoop Dogg’s son was on the team too. And we met down there and I had “Red Solo Cup” out then and he was going, “Man I need to get in the studio with you and hit on some of that ‘Red Solo Cup.’” I’d love to. Me and Snoop would be fun. It wasn’t a diss as much as a do what you do, but get in your zone if you’re
going to be country.
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If you’re a male performer in country music right now, you may no longer have a choice. If you want to see your singles and records reach the top of the charts, if you want your songs played on the radio, and if you want to be in contention for the big awards, you better add some hip hop elements into your music.
It seems almost inexplicable that this statement could be made about American country music, but when looking at the top performing songs, albums, and artists in the format, and how many of them have at least some form of the hip-hop culture embedded in their music, the statement isn’t controversial, it is conclusive. And Saving Country Music isn’t the only one pointing this out.
“You hear the hip-hop thing start kicking in, and you start going, ‘Is that what we gotta do now to have a hit? Is that what I need every one of my songs to sound like now?” says Toby Keith, who not only was the best-selling country artist from the 2000′s decade, but is the owner of the influential Show Dog Universal label, and the highest paid person in country music from his stake in multiple record companies.
Even as a top label executive, Toby is having trouble convincing his own people to push music that doesn’t include electronic beats or rapping. According to Keith, when he brings them country songs, they tell him, “Eh, it doesn’t sound like what’s going on the radio today.”
The two best-charting, biggest-selling songs of 2013 so far have been songs that lean heavily on hip-hop influences: Florida-Georgia Line’s “Cruise,” and Luke Bryan’s “That’s My Kind of Night.” Both songs broke records in 2013, with “Cruise” breaking the all-time record for any country single with 23+ weeks at the #1 position, and “That’s My Kind Of Night” breaking a record for the most consecutive weeks at #1 for a solo male performer—a record held since 1966.
Currently, the #1, #2, #6, #7 songs on the Billboard Hot Country Songs chart feature hip hop influences, while Jason Aldean, Blake Shelton, and Tim McGraw at the #4, #5, #9 positions respectively have all had major country rap singles, including Aldean’s “Dirt Road Anthem” that was the biggest-selling song in all of country in 2011. Three of the five nominees for both Entertainer of the Year and Male Vocalist of the Year for the upcoming CMA Awards have cut country rap songs.
But just because a song has hip hop influences, doesn’t make it bad. It has been the combination of country rap and the laundry list style of lyricism that has been the 1-2 punch to the integrity of the country genre, and especially the material emanating from male talent. This trend has caused a recent uproar, with many artists speaking out, including artists who have themselves participated in either the country rap or laundry list trend, including Jake Owen who recently said, “We need more songs than just songs about tailgates and fuckin’ cups and Bacardi and stuff like that,” potentially dissing Toby Keith’s hit “Red Solo Cup.” Keith was also arguably responsible for the first country rap song in the modern era when he rapped the verses in his 2001 hit “I Wanna Talk About Me.”
It may not be as much that Jake Owen and Toby Keith are being hypocritical as much as they are big stars that are expected to deliver hit singles, and they are sick and tired of chasing the current trends where there is little or no room for substance. When Keith spoke about his recent single “Hope On The Rocks” that stalled at #18 on the Country Airplay chart, he said, “…you start playing it to a twenty-something audience, and it’s like, ‘Naw, man, there ain’t no mud on that tire. That ain’t about a Budweiser can. That ain’t about a chicken dancing out by the river. That ain’t about smoking a joint by the haystack. That’s about somebody dying and shit.’”
So does that mean we can expect Toby Keith to go the country rap route? “I don’t know how to do that,” Keith explains. “I’m not going to change much. And when it quits working, I’ve got other stuff to do.” But if he doesn’t, Keith runs the risk of losing his relevancy as a mainstream country artist. That is why we’ve seen middle-aged country performers like Tim McGraw and Ronnie Dunn cut country rap songs recently, and why most of the up-and-coming country males that are making their mark are doing it through country rap.
Peer and financial pressures are making it mandatory for male country artists to start off their songs with a hip hop beat, or rap the verses to their songs, even if it is just a verse or two. Forget the stigma of trying to bring hip hop into the country format. If you’re a male country star in 2013, you can’t afford not to.
A couple of days ago, The Stagecoach Festival out in California announced their 2014 lineup, capped by headliners Eric Church, Jason Aldean, and Luke Bryan. Since its inception 7 years ago, Stagecoach has been the California contingent to America’s big corporate country music festivals, but what makes Stagecoach different is that they actually include independent and up-and-coming artists as well—something most festivals in the corporate country field either completely avoid, or only include with a few token names.
For example if you look at the 2013 CMA Fan Fest in September in Nashville, the LP Field lineup consists of a who’s who of mainstream country, with no room for up-and-coming or independent acts. Same goes for the Northeast’s primary corporate country festival called Taste of Country Festival, with virtually all the performers consisting of acts in the mainstream and on major labels.
But at Stagecoach, the majority of the acts on the bill are independent, up-and-coming, or legacy artists, despite its big headliner names. When Stagecoach made its 2014 lineup announcement, my social network channels blew up with folks incensed that an artist like Luke Bryan would be listed in a bigger font than Loretta Lynn. But my reaction was completely opposite.
The big, mainstream names go without saying at a festival like this, and are in no way out of the norm of what we’ve seen from Stagecoach, or any other corporate festival over the last decade. What I was excited to see were names like Jason Isbell, The Whiskey Shivers, Corb Lund, Holly Williams, Sarah Jarosz, Shovels & Rope, and Shakey Graves on a bill with arguably mainstream country’s three biggest current names. The opportunities and exposure a festival bill like this can open up for these artists can’t be understated. If there’s any beef with their lineup, it would be that there’s not a woman represented in the top 2 tiers.
Envision the Stagecoach lineup as a radio playlist. If you went to CMA Fest, the lineup would virtually mirror the playlists of corporate radio. If you went to Taste of Country Festival, it would mirror corporate radio, with maybe a few more smaller and older names mixed in. But if the Stagecoach lineup mirrored a radio playlist, country radio would immediately flip-flop and improve ten fold, even if the names in bigger fonts got more plays.
The Stagecoach lineup is actually a great test case and example of how pragmatism and choice could be used to improve the country music format. What hardline purists and hardline independent fans need to understand is that big pop country acts have always, and will always dominate the country music landscape. Completely eliminating names like Jason Aldean from the picture would be great, but setting out to do this is an idealist, fool’s errand. The more reasonable approach is to simply lobby for choice—for traditional country and independent artists to simply be given a place at the table and an opportunity to reach the ears of the masses just like the big names. This would allow listeners to be able to decide what is best instead of a few select radio programmers. And this is what a lineup like the one for Stagecoach does. Jason Isbell vs. Jason Aldean? I’ll take that match. I’ll make that bet. And even if Isbell loses, he will benefit from the exposure the opportunity gives him.
I agree the marking of importance of artists based on font size, which has now become the norm in American festival culture, is always unfair, and Stagecoach is just as guilty as any. But it’s not arbitrary, and saying that this approach doesn’t make sense is being a little short sighted. Jason Aldean, Luke Bryan, and Eric Church regularly sell out arenas. Loretta Lynn doesn’t. The font size of a given artists’s name is directly tied to the draw of that artist. This says more about the priorities of society than it does how Stagecoach decides to market their lineup. They invert the font sizes to make some happy, and their festival loses. And so do the artists, including the smaller, up-and-coming artists looking to capitalize off the opportunity to play to the same-sized crowds as country’s top headliners.
For Aldean, Church, and Bryan, Stagecoach is just another tour stop. To Jason Isbell and Loretta Lynn, it is potentially the biggest crowd they will play to all year, and the biggest opportunity to reach new fans. And virtually every festival takes this stupid font size approach, including independent ones. The independent-minded Muddy Roots Festival last year made all of its other performers subordinate to the punk band Blag Flag that was only sporting one original member, and had a rival version of the band touring at the same time.
The angry feeling some people have for the Stagecoach lineup underlines many of the inherent problems with America’s emerging festival culture. For years in Europe, summer music festivals have dominated the live music landscape. Over the past decade, the US has also become more dependent on a seasonal festival schedule, making lineup announcements and fonts sizes an annual exercise in publicity stunts and polarization. Festivals are popping up everywhere, hungry for patrons and performers, and being pressured to make big splashes with their lineups. We’ve reached the point where both the artists and patrons are getting squeezed, while the emerging festival season is draining interest in the single music show on any given night that many artists are dependent on to make a living throughout the year. Some artists are playing to empty venues because fans are passing them over in lieu of the festival experience.
Massive corporate festivals like Bonnaroo, ACL Fest, and Lollapalooza that blend all genres further complicate the festival landscape. The music is getting lost in the bustle by promoters, sponsors, and corporations trying to land cool names for their festivals, trying to outdo their competition, trying to rack up “likes” on Facebook, etc., with patrons caught in the middle trying to do what is best to support the music getting stuck with tough decisions, and falling to the mercy of the guilt game.
It all almost makes you want to stay home. But if I had an opportunity to go to Stagecoach, I would, and I may. Because no matter whose name is in the biggest print, there are plenty of names in their lineup worth paying attention to. Is it a shame that Loretta Lynn’s name isn’t as big in a lineup card as Luke Bryan’s? Of course it is. But that’s better than Loretta’s name not being there at all, which it isn’t for the majority of the country’s corporate music festivals. Many facets of the country music business could learn from the Stagecoach model.
I don’t know what to say folks, except that maybe country music’s 2013 collective mission to find the absolute lowest depths of stupidity in song was accomplished so unequivocally with Luke Bryan’s “That’s My Kind Of Night” and Jason Aldean’s “1994″ that a new mission had to be named to explore the innermost reaches of emotional depravity bordering on downright psychotic tendencies, and that’s how this song came into being.
I’ve never heard a song whose mood is so befuddled and whose message is so depraved this side of Satan rock. Is this supposed to be a deep, heartbreak song, or a ‘bro” anthem filled with sarcasm? I don’t even know if Tyler Farr could answer that question. This song and video doesn’t offer any entertainment, it just makes you want to deadbolt your doors, ammo up, and clinch your loved ones a little closer.
Tyler Farr’s “Redneck Crazy” isn’t for jilted male lovers looking for solace, it is for socially awkward, introverted, creepy-ass chronic masturbaters that hold a minor in megalomania. This song doesn’t need a rant, it needs a restraining order and ankle bracelet. It’s an insult to both the terms “redneck” and “crazy.” True rednecks ride their problems out, rub their wounds in the dirt and move on, not whine about them like a panty waist, eliciting threats and enlisting their loser friends to enact adolescent acts of vandalism as some sort of self-righteous recompense.
Look at some of the lines in this creep fest:
“Gonna drive like hell through your neighborhood
Park this Silverado on your front lawn
Crank up a little Hank, sit on the hood and drink
I’m about to get my pissed off on”
“I’m gonna aim my headlights into your bedroom windows
Throw empty beer cans at both of your shadows
I didn’t come here to start a fight, but I’m up for anything tonight
You know you broke the wrong heart baby, and drove me redneck crazy”
Listen Tyler Farr, if you’re going to go recording some weird-ass soundtrack to your stalking escapades, do me a favor and keep the holy name of the great Hiram King Williams out of your demented claptrap, okay?
And this might be the worst line of all:
“Nah, he can’t amount to much by the look of that little truck
Well he wont be getting any sleep tonight”
No wonder you can’t get laid you loser, because if you think being a man means having a big truck and a bunch of cool camouflage shit, then you’re nothing but a little boy still playing G.I. Joe stuck in a man’s body. Just because you have a camo guitar and play with your privates doesn’t make you “Army Strong” Tyler. The fact that you’re making fun of the size of a man’s truck says less about that man and more about your own inadequacies, and the powerful sway they have over your emotional sense of self-worth.
Get over it Tyler. Put a napkin on your vag and quit acting like the world owes you just because you’re an emotionally-underdeveloped and shallow douche prick with no game. The saddest part is, “Redneck Crazy” is the type of stupid shit that passes for “deep” these days. And yes folks, I know this song wasn’t written by Tyler Farr, but a troika of professional songwriters. That’s even more scary—that in a cubicle farm somewhere there’s bean counters pouring over demographic data and concluding, “There’s not enough songs about psychos threatening physical violence against their ex’s on country radio. We feel it is time to exploit this niche.”
And who the hell is Tyler Farr anyway? Where did this dude come from? A few weeks ago I’d never heard the name, and now this is the #1 song in country music? I went to his wiki page and it had less substance than this song, probably because his shallow fans ran out of time on their free AOL disks, or won’t touch a computer unless it’s wrapped in camo tape. And while we’re on that, quit with the stupid-ass camo everything. Yeah, it was cute when Brad Paisley came out playing a camo guitar in 2008, but more and more camo is just a way to camoflauge the emotional frailty and insecurities of grown-up babies like Tyler Farr whose true redneck identity only runs as deep as his $170.00 Bass Pro Shop camo waders.
And as is the norm these days, the video for the song does it one worse, with cameos from these Duck Dynasty guys and the country music Grimmace, Colt Ford. Come on, bringing Clot Ford on a covert mission would be like shoving a bowling ball down your pants before running a marathon. Hell, if you want him to be useful, leech a liposuction hose to his commodious midriff and spray his superfluous fat at this poor chick’s abode. I hear human cellulite is even more hell to remove from house siding than egg white. And if you watch the end of the video, tenderfoot Tyler Farr tumps his glorified golf cart while trying to make a basic turn. Just like Luke Bryan, these lugs love to sing about the outdoors in their songs, but when you get them off the pavement, they’re like a fish out of water.
About the only thing this song is good for is turning in for state’s evidence of why Tyler Farr shouldn’t be allowed within 200 yards of his ex’s or any elementary school.
You aren’t “Redneck Crazy” Tyler, you’re just really, really creepy.
Two guns way down!
Luke Bryan and his other bro-tastic pop country pseudo-rapping laundry list-espousing pretty boys may love to sing about big ol’ pickup trucks, but it has always been circumspect if they could even pilot one in a pinch. Maybe Luke had a little too much of that “real good stuff up under the seat of his big black jacked up truck,” or maybe the floozy he was riding with heard “hand me another beer” one too many times (references to his #1 song “That’s My Kind of Night” people, keep up!), but either way, Luke Bryan’s ride ended up in the drink a few days ago. Luckily the matching henna tattoo he got with Jason Aldean did not get wet in the incident.
“Before y’all get out of your truck. Make sure to put it in park. Trust me.” Luke Bryan tweeted, along with a picture of his submerged pickup. Maybe Luke should have written the directions for setting the parking break on his hand like he did the words to the National Anthem.
We all do stupid things and maybe it’s not fair to laugh, but I’m still waiting for Luke Bryan to do something that is not stupid. Even the catfish sucking up Frito crumbs off his floorboards are saying, “Man, what a douchebag.” Lucky for Luke, his appropriately-titled album Crash My Party just went platinum, so he can probably afford seven more of these to screw up at his leisure.
A friendly suggestion to Luke Bryan and his ilk: stick to traversing the backroads and ponds vicariously through your songs just like your suburban-dwelling listeners do. The country can be a very, very dangerous place.
Late Tuesday night (9-17), Jason Aldean took time away from getting fitted with pairs of $700 jeans and polishing up his Medusa of wallet chains to take to Instagram and call out Zac Brown for his recent comments about country music, and specifically Luke Bryan’s song “That’s My Kind Of Night,” characterizing it as the “worst song ever.” Though Zac Brown went out of his way to both say that his problem was not with Luke Bryan, but the song, and specifically clarify that he didn’t necessarily consider himself country either, though he does actually play real music with real instruments, Jason Aldean decided to take the low road with Zac Brown, and make it personal, saying:
I hear some other artist are bashing my boy @lukebryan new song, sayin its the worst song they have ever heard…….. To those people runnin their mouths, trust me when i tell u that nobody gives a shit what u think. Its a big ol hit so apparently the fans love it which is what matters. Keep doin ur thing LB!!!
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Look ladies and gentlemen, if Jason Aldean was ever pressured to actually write one of his hit songs, he’d choke like a Kardashian giving face love to a professional athlete. And what’s with the language on this prick for someone who’s supposed to be family entertainment? Do you kiss Luke Bryan with that same mouth Jason Aldean?
We already knew from Jason’s numerous stuttering, cardboard-like speaking presentations at stupid country music award shows that the man had less of a handle on the English language than a horny monkey does a greasy football. But if Aldean’s garbled communique is any indication, there’s Chilangos headed back home on the deportation bus that have better command of broken English than this plastic, country music Ken Doll. Match that with the vernacular of a 12-year-old female texter hopped up on half a dozen pixie sticks, and Aldean’s attempt at defending his man friend Luke Bryan is more of a laughable indictment of Aldean’s own character and intellectual attributes than a worthy defense of his “bro.” Aldean should have remembered the advice from those record executives: shut up, look pretty, and only open your mouth when the Auto-tuner is on.
And what do they say about people living in glass houses? A year ago this month, Jason Aldean and his shimmering white teeth were gracing the shiny cover of People Magazine’s Country Music Special Edition, singing the praises of Aldean as a superlative father and family man, while at the same exact time he was hanging out in an LA night club getting handsy with some loose American Idol castoff. Hey, we all make mistakes, but Aldean is two left feet in faux leather boots stained on the inside with residue from his chemical tan. Just stick to making sure you don’t fall off the riser when you’re working through your choreographed stage moves Aldean. We the people of country music will determine who needs to be called out or praised for their contributions to the genre.
And just appreciate this: Aldean took the time to call out Zac Brown, but still to this day has yet to reach out to Joe Diffie, a man he did an entire tribute song to. That’s right, Aldean hasn’t taken the time to even text Joe Diffie and his mullet, yet he’ll go on some rant replete with sophomoric abbreviations through the stupid-ass, adolescent forum of Instagram. Take this advice Aldean, keep your texting thumbs holstered in the loops of your $700 jeans, or tickling the #2 holes of your barely-legal groupies.
Who gives a shit what Zac Brown has to say? I do. We do. Are we the minority? Maybe, but the statistics show that our numbers are growing every day while mainstream music continues to circle the toilet hole of financial insolvency, trying to shore up their golden parachutes by instilling this sugar rush of completely vapid and talent-less hack acts that amount to nothing more than a harey carey maneuver, sticking a dagger right into the heart of country music, sacrificing its long-term health and viability to prop up the facade of the here and now.
You think the popularity of something proves its worth? In the minds and pocketbooks of a growing number of consumers, a song’s mainstream popularity is proper stimulation to avoid it at all costs. In a moment of vanity-filled rage and in a complete vacuum of self-awareness, you may think that you and Luke Bryan are kings of the mountain right now. But one day you’ll wake up and realize that mountain is nothing more than a heap of ashes of what country music once was, with no body or structure to that mound, and that the impending fall from the top will be quite precipitous.
Nobody gives a shit, Jason Aldean? Sorry “bro,” but you’re wrong. I give a shit. I do. And I’m not alone.
(This story has been updated. See below)
The war of words concerning the state of country music continues, with Jason Aldean being the latest to enter the fray. Responding to comments by Zac Brown in a recent radio interview, Jason Aldean took to his Instagram account to call out Zac Brown for calling Luke Bryan’s current #1 hit “That’s My Kind Of Night” the “worst song ever.”
I hear some other artist are bashing my boy @lukebryan new song, sayin its the worst song they have ever heard…….. To those people runnin their mouths, trust me when i tell u that nobody gives a shit what u think. Its a big ol hit so apparently the fans love it which is what matters. Keep doin ur thing LB!!!
In an interview on 93.7 JR FM in Vancouver, Canada last week with Barbara Beam, Zac Brown said in part:
I love Luke Bryan and he’s had some great songs, but this new song is the worst song I’ve ever heard. I know Luke, he’s a friend. ‘My Kind Of Night’ is one of the worst songs I’ve ever heard. I see it being commercially successful, in what is called country music these days, but I also feel like that the people deserve something better than that. Country fans and country listeners deserve to have something better than that, a song that really has something to say, something that makes you feel something. Good music makes you feel something. When songs make me wanna throw up, it makes me ashamed to even be in the same genre as those songs.
Zac Brown also went on to say, “If I hear one more tailgate in the moonlight, daisy duke song, I’m gonna throw up.”
Luke Bryan and Jason Aldean both hail from Georgia, and both appear together on the recent single “The Only Way I Know” that also includes Eric Church. Aldean’s backlash continues a war of words, with many mainstream artists coming out against the current direction of country music. Alan Jackson last week said there was “No country stuff left” on country radio. Gary Allan in an interview with Larry King recently said, “We’ve lost our genre.” And Kacey Musgraves, who was just nominated for 6 CMA Awards, has spoken out numerous times recently, saying in late August that she was tired of Affliction T Shirts and truck songs.
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UPDATE (9-19-13 1:20 PM CDT): One of the songwriters for Luke Bryan’s “That’s My Kind Of Night” has come out in defense of Luke and his song. Professional songwriter Dallas Davidson, also responsible for such hits as “Honky Tonk Badonka Donk” and Luke’s other big hit “Country Girl (Shake It For Me),” telling Roughstock in part:
When Luke called and told me about it, the first thing I did was sit there and soak it in. A comment like that will hurt your feelings because when you write a song, it’s kind of like one of your babies. To hear a successful artist say it was the worst song he’s heard and it makes him want to throw up, that’s just not cool. I’m sure a lot of stuff like that has been said behind closed doors, and everybody has their right to their opinion, but to come out publicity and dog on other artists and dog on a song and the songwriters, to me, is just unacceptable and it’s not nice.
Zac Brown also specifically called out the songwriters in his initial comments, saying, “You can look and see some of the same songwriters on every one of the songs. There’s been like 10 number one songs in the last two or three years that were written by the same people and it’s the exact same words, just arranged different ways.”
Dallas Davidson continues:
We write songs for a living. We write about what we know about. What I know about is sitting on a tailgate drinking a beer. Hell I live on the river. When Luke called me to tell me about what happened, I was literally smoking Boston butts on my homemade cooker at my 800 square foot river house with about four of my buddies with their trucks backed up, sitting on a tailgate. And they want to know why we talk about tailgates in songs … well that’s because we’re sitting on them. We did that 25 years ago, and we’re still doing it. I can’t write about things I don’t know about. Fortunately, there’s a lot of people in this country who do what I do. To say that that kind of song doesn’t fit in our genre is mind boggling because it absolutely does…..My mom always told me if you don’t have nothing nice to say, then don’t say it at all.
Texas country star Jack Ingram has also chimed in. Last night Luke Bryan performed “That’s My Kind Of Night” on the TV show America’s Got Talent. Ingram took to his Twitter and Instagram feed to first ask if Luke Bryan was singing a Lady Gaga song, and later said, “It’s not the words, it’s that melody..Whoa ah whoa ah oh ah from the Gaga song…is the same as “cook up catfash dinna” etc!”
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UPDATE (9-20-13 12:45 PM CDT): For those wondering why Jason Aldean came to the defense of Luke Bryan and “That’s My Kind Of Night,” it might be because Jason Aldean wanted to cut the song himself. In an interview with Country Countdown USA‘s Lon Helton, Aldean says, “I thought it was great. I wanted it. I wanted to cut it. I’ve figured that out over my career. When we put out ‘Dirt Road Anthem,’ there’s gonna be people that are gonna bash you for it. ‘Rap has no place in country,’ whatever. People either like it or they don’t. Hopefully there’s a market for it. So I think ['That's My Kinda Night' is] a hit, and I was hoping Luke wouldn’t cut it so I could have it.”
Also Justin Moore has spoken out about the feud, telling Nashville Gab in part, “Everybody has their own opinions, and I don’t have a problem with people having their own opinions, but where I do have a problem with it is when you call out somebody in your fraternity.”
UPDATE (9-21-13 5:50 PM CDT): A few more country personalities have chimed in.
Will Hoge through Twitter: “Millionaires arguing about who is ‘more country’ cracks me up. Trust me, farm hands and factory workers are countrier than both y’all. Shhh!”
Blake Shelton through Twitter: “So happy there’s a shit storm going on with some artists in country music and for once I’m NOT in the middle of it.. This calls for a drink!”
UPDATE (9-26-13 7:45 CDT): Jason Aldean has spoken once again on the feud, telling The Province:
Look, as an artist you’re not going to like everything every other artist does. There’s certain artists I really like what they do and certain artists I’m not that big of a fan. But I’m not publicly going to go out and trash ‘em. “I know Zac, I don’t have anything against the guy, he’s always been cool to me, but I didn’t like that. And of course Luke’s one of my best friends and it rubbed me wrong. You don’t have to go out and say those things. I don’t agree with any artist bashing another artist.
Also songwriter Adam Hood took to his Twitter page to say, “Thank you zac brown for speaking up and giving “the rest of us” a voice!”
I’ll be honest with you, I wanted to hate this album, and for many reasons. It begins with a general dislike of tribute, compilation, and cover albums altogether. We live in such a crowded music world, do we really need to hear a song that was perfectly fine the first time done some other way, or virtually the same way from a different artist? Sure it’s cool when they sneak one in on you in the context of an original album, but 14 reconstituted tracks stacked together can get unbearable.
And this particular album seemed like such a ploy. Alabama doesn’t really hold any sway on the heart of your average independent roots artist or their listeners—generally speaking of course—so it seemed like the idea of taking Americana names like Jason Isbell and Jessica Lea Mayfield, and mixing them with Texas/Red Dirt country artists like the Turnpike Troubadours and Jason Boland was just a way to trick people into paying attention to Alabama who otherwise wouldn’t.
And yeah, I’ll say it: Though I’ve always found a good handful of Alabama songs entertaining enough, and maybe some of their album cuts hold a little more substance than they tend to get credit for, they were sort of a mild band when looking at them in the big country music picture.
Alabama was quick to call on stereotypical references to the South and Alabama and evoke artifacts of Southern living in their songs, certainly laying at least some of the groundwork leading up to the parade of laundry list songs country music is plagued with today. That’s not to discount their entire catalog in any way or to imply their songs weren’t enjoyable, but Alabama “was what they were” so to speak—an accessible, sort of one-trick, songs-about-the-South pony that probably doesn’t deserve two tribute albums coming out for them in a month span.
And that’s the other thing. While Americana/Red Dirt fans were pouring over the lineup for High Cotton: A Tribute To Alabama, salivating at names such as JD McPherson, Bob Schneider, John Paul White (The Civil Wars), and Shonna Tucker (Drive By Truckers), on the other side of the music world amidst the multiple wallet chains and Auto-tuned voices of mainstream land, they were looking at a completely other tribute album called Alabama & Friends that includes names like Jason Aldean, Luke Bryan, and Florida Georgia Line. This 1 – 2 punch seemed to be part of a plan to create a widespread Alabama resurgence across the entire music panorama, tricking us into losing perspective on Alabama’s overall stature in the country music pantheon.
And wouldn’t it be so typical of one sect of fans to rally behind their particular Alabama tribute, and poo poo the other. Isn’t there enough new, original music out there right now that is more worthy of our time and ears instead of engaging in some culture war over ho hum, rehashed music?
But believe it or not, I like this album. I like it a lot. And its appeal goes beyond the sexy names of contributors, which is how they get you in the door. High Cotton: A Tribute To Alabama offers a great mixture from how the respective artists approach each song. Your country artists, like the Turnpike Troubadours with “If You’re Gonna Play in Texas (You Gotta Have a Fiddle In The Band),” and Jason Boland with “Mountain Music,” play it pretty close to the original, not trying to get too cute.
Then you have more progressive artists like Jessica Lea Mayfield going in a completely different direction with her rendition of “I’m In A Hurry (And I Don’t Know Why)”—wholesale changing the feel and theme of the original composition without touching a word, making a fun song into a haunting indictment of modern life. Then you have an artist like JD McPherson truly putting his own throwback, 50′s-vibe on a song with “Why Lady Why.” As the cliché for cover songs go, he “made it his own.”
High Cotton: A Tribute To Alabama gets right what so many cover and tribute albums get wrong, including its 2013 counterpart Alabama & Friends. A good tribute album doesn’t just pay tribute to the band or artist. It should be a 50/50 proposition, with the contributing artists also benefiting from the name recognition the tributee affords. You can tell the contributors had any and all latitude they desired to take these songs wherever they wanted, or to leave them pretty much the same if they so chose. And most importantly, when you’re listening to this album, you being to think, “Damn, Alabama did have some pretty good songs, didn’t they?” That’s how you know when a tribute album was a successful endeavor, when it has the power to change a mind, or remind you of something you had forgotten, or introduce something to a generation who has no sentimental tie to it.
A fun exercise with this album is to simply turn it on before looking at the track list and trying to determine which artist the song is being done by simply from the style and the singer’s voice. It is sort of an aptitude test to check your level of independent country and roots knowledge. There’s a few moments on the album that lost me, like T Hardy Morris extending the guitar solo at the end of “High Cotton” so long seemed a little self-indulgent, but even this will be cherished by the right ear. The Bind Boys of Alabama finishing off the album with “Christmas in Dixie” works even in the swelter of mid September because of the inspired performance they turn in.
Cover and tribute albums will always be held at a disadvantage because of their lack of original content, but I would put High Cotton: A Tribute To Alabama near the top of some of the stronger tribute efforts to grace the ears of the country music world.
1 3/4 of 2 guns up.
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