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Back in March, country music Outlaw David Allan Coe was in a horrific accident where his black Suburban was broadsided by a semi truck in Ocala, Fl. Coe suffered cracked ribs and bruised kidneys in the accident, but was able to recover to perform again.
In the aftermath of the accident, there was a shakeup in David Allan Coe’s band and inner circle. As Saving Country Music reported after attending David Allan Coe’s first show back as part of Willie Nelson’s 40th Annual 4th of July picnic, David was quoted as saying, “…everybody quit me, except my wife. She’s the only one that didn’t quit. My road manager of 35 years, he quit me. My band quit me. This is a brand new band, this is a brand new me.”
On November 8th, David Allan Coe’s son, Tyler Mahan Coe, who played guitar for his father, posted an in-depth letter describing his side of the story, saying in part, “The implication is that every person in his life, except his wife, abandoned him after his recent auto accident. Certainly, it doesn’t make sense to me that every person in someone’s life would take a hike because that person had a little accident. Must be something else going on there.” In short, Tyler blames David Allan Coe’s wife Kimberly for manipulating his father, leading to him and others being forced out of his father’s music business. Tyler also spelled out and addressed numerous concerns and grievances he and many David Allan Coe fans have had about his father’s live performances in recent years.
David Allan Coe’s accident, the subsequent fallout, and Tyler Coe’s letter have stimulated a discussion about David Allan Coe, his ethics and character, his contributions to the music world, and have many fans finally speaking out about a lackluster live show that they we’re unwilling to speak about previously out of respect for the performer.
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Look, this is the deal with David Allan Coe. David Allan Coe is a piece of garbage human being. As Al Goldstein once said straight to David’s face enlisting a cackle from David, “You’re a fucking degenerate.” He’s a sexist, racist, scary, weird, train wreck of a man; one of these people we all knew growing up in school or in the neighborhood that was always in someone’s face and that could twist off at any moment.
As Waylon Jennings once pointed out, David Allan Coe will stab you in the back and then ride off your name like he’s your best friend. He wears a stupid, waist-length golden-haired wig on stage as if he’s fooling anyone. He bashes anybody and everybody for getting in his way, abandoning him, or otherwise keeping him down, when he is clearly an arrogant, disrespectful, down-talking asshole who has little regard for anybody but himself, has bashed his Outlaw contemporaries while praising people like Kid Rock and Toby Keith, and once bragged about standing on top of the desk of a record executive, dropping his pants, and ordering him to perform oral sex on him.
At the same time, and for some of the same reasons, David Allan Coe is an American treasure, and a country music legend. Hank Williams Jr. may have sung about being a “Dinosaur,” but David Allan Coe truly is one. In a world where we’re all so whipped and so trained to not speak our minds, or to say what we think, and respect authority that is many times much more immoral, unfair, and corrupt than we could ever be, an individual like David Allan Coe is a breath of fresh air, and in a strange way, an inspiration in the way he is blatantly obvious about who he is, what he wants, and what he believes.
Anyone who wants to diminish David Allan Coe’s importance to country music, whether it’s because he’s put out some bad songs, bad albums, has a bad live show, or because he’s is a bad person, isn’t paying attention to the full breadth of his contributions, including some of the most indelible, important, and influential works of the country music canon. Forget “Longhaired Redneck,” go listen to “Jody Like A Melody” or “River” and then tell me David Allan Coe has nothing to offer.
And to simply call him “sexist” or “racist” really doesn’t do justice to the complex and tragic history of David Allan Coe’s life and upbringing, or the true nature of his opinions. David Allan Coe is one of the truest products and examples of the American experience because there is no bullshit from him, however ugly it is to behold. His attitudes and actions are a reflection our own sins and flaws as an American society, personified in a man who has zero respect for phony custom, or plastic courtesy. At the same time, it’s embarrassing that some choose to use him as their phony idol or icon for racist or sexist platitudes or principles, only reveling in the bad parts about David Allan Coe, and missing the complete panorama of his message and musical contributions.
I do not know Tyler Mahan Coe personally, though I have seen him perform with his father before. Having read many things he’s written over the years, including his latest letter clearing the air about what happen with his father, Tyler comes across as an intelligent and thoughtful individual, and I tend to take what he says as being the truth, and find his honesty and candor refreshing. Tyler Coe is right. Seeing David Allan Coe on any given night can be an exercise in disappointment, from his poor stage presence to his stupid vocal effects. But there is nothing that I read in Tyler’s letter, or anything else that gives me reason to respect David Allan Coe any less. The grim reality with any performer is that as time goes on, they will lose grip with their talent and abilities, especially when they live the type of self-destructive life fans expect, if not demand from certain artists.
When I saw David Allan Coe perform this summer at Willie Nelson’s 40th Annual 4th of July picnic, it was the most God awful performance of “country” music I had ever seen in my life. His band setup included two keyboards flanking him on the left and right, some weird percussionist guy, and struck the vibe of an underfunded and unrehearsed amateur church band that had set up in the food court of a mini mall in some forgotten region of scary, small-town USA preaching to inbreeds and introverts circa 1987. At the same time, I was super glad to be there to catch it, and to be able to see David Allan Coe still alive and performing after his accident.
Why? Because when David Allan Coe is gone forever, what he symbolizes and embodies will be gone forever too. And country music, and the rest of the world, will be a lot less of a colorful place. Because whether you like him, respect him, or hate him, there will never be another person or performer in country music or the American culture like David Allan Coe.
Saving Country Music’s 2010 Album of the Year winner, Reno, Nevada’s Hellbound Glory has just released an entire concert set worth of video footage from a show in Memphis earlier this year while on the Kid Rock tour. Whether you’ve heard the name before but never had the right excuse to check them out, or are a wiley old Hellbound Glory veteran looking for your next Hellbound fix, this video footage will set you right.
“On March 21st, Hellbound Glory descended up on the city of Memphis, Tennessee and the renown FexEx Forum in support of Kid Rock and the Rebel Soul tour. With much respect to the city’s musical heritage (and a visit the day before), the band laid into a blistering 30 minute set, putting into motion a series of events that only time a whiskey will ultimately divulge. This video document is testament to that fateful night Hellbound Glory came to town.
The audio captured here is a “board mix” and has not been altered or remastered in any way.”
For more information, visit hellboundglory.com. They are currently on tour with The Supersuckers.
Another Bender Might Break Me
Hank Williams Records
Cliche Country Singer
Women I’ve Never Had (Hank Jr. Cover)
Baby’s Got A Sugar Daddy
Showin’ Off Sure Is Fun
Repo Man (Medley)
As much as we may love the older music performers we grew up with, or cherish the performers from a past beyond our own, there might be nothing worse to behold as a music fan than watching an aging artist who refuses to come to grips with reality, and won’t let go of the spotlight. Of course it is a shame that the music business is so callous towards its aging talent and seems so quick to cast its older entertainers off. But all artists eventually age and experience the passing of mass interest, and must face a new set of realities.
As much as Ronnie Dunn started out showing promise as a substantive artist and one willing to speak his mind about the state of the country music business after the Brooks & Dunn breakup, he’s now out there now kinking his hair and cutting country rap songs. Hank Williams Jr. might be the poster boy for the country artist who’s unwilling to face their fate; carousing with Kid Rock and taking great care not to show any gray in his mane. Remember when Alabama collaborated with ‘N Sync? Or the catastrophe of Kenny Rogers’ facelift? Even our beloved Willie Nelson had a moment when he thought the best thing for his career was to cut a Dave Matthews song produced by Kenny Chesney. We can’t blame our country heroes for not wanting to call it quits from the mainstream spotlight until they’re absolutely sure it’s time, but sometimes you wonder why they just can’t rest on their laurels, appreciate their years of success and the financial windfall it afforded them, and simply refocus on the music as their first priority.
That is exactly what we are seeing from two of country music’s most prestigious previous heavyweights: Alan Jackson and Vince Gill. With 34 CMA Awards, over 20 Grammys, and and some 80 million records sold between the two, they both have seen their share of overwhelming commercial success, public notoriety, and peer recognition. But over the last few years the writing has been on the wall that their time has come, and their days of widespread radio play and big awards are over.
And so what did these two men do? Did they shake their fists at the system and criticize it for being unfair? Did they try to mix it up with some young artist outside of the genre to hopefully rekindle interest? Did they debut a new look to try to hide their age? No, they both did something out-of-the-ordinary—they embraced their roles as legacy artists, and put out albums that paid homage to the roots of the music that brought them both so much fortune over the years.
Vince Gill teemed up with legendary steel guitar player Paul Franklin and put out an impressive and energetic tribute to the West Coast influence on country called Bakersfield, swapping songs from California country titans Merle Haggard and Buck Owens. For all the chatter about country having to evolve to stay commercially viable, Bakersfield debuted at #4 on the charts and sold an impressive 12,000 copies its first week—virtually unheard of for a tribute album, especially one from an older artist.
Right on the heels of Bakersfiled‘s success, Alan Jackson has just released an album of bluegrass music simply called The Bluegrass Album. It includes 8 Jackson originals all done in authentic bluegrass style, and covers artists like Bill Monroe and The Dillards. The record is a critic’s favorite and has been creating tremendous buzz.
As much as country music, especially in the current era, may feel like a business of the here and now, one thing that still separates country from other genres is the role of the legacy artist. Rock once had this as well, but there is a reason a 51-year-old Sheryl Crow decided to bring her act to country in 2013. As much as it may pain purists when pop and rock artists cross over to country, it also speaks to how despite the conventional thinking of modern country as a kid’s game, country still deliver strength to older artists. Sure, artists like Vince Gill and Alan Jackson may no longer be able to sell out arenas, but they’re also not considered “has-been’s” simply because the big hits have stopped coming. You may not be treated as a superstar in the twilighting of your country career, but you’re still doted on as a legend by core fans who will never forget your contributions. That was one of the unfortunate things about the early passing of Waylon Jennings. He never got that opportunity to take a victory lap and stand as a country music elder statesman.
Like Emmylou Harris allowing her raven hair to turn a shimmering silver, watching an artist age in country music can be a splendid thing to behold when the artist performs the transition with grace, class, and wisdom, and the industry allows this process to unfold naturally instead of shutting them out. By setting new parameters of success that don’t have to do with sales and flashy awards, an artist can craft the finishing touches on their legacy while the genre shows their respects for their contributions.
But moreover, what Vince Gill and Alan Jackson have proven is they still have plenty of tread on the tires, and aging artists can still have a sizable impact and contribution to the country music canon.
The last few weeks might go down in history as one of country music’s most feud-laden moments. From Gary Allan going off about country music and indirectly accusing Taylor Swift and Carrie Underwood of not being country, to Zac Brown calling out Luke Bryan’s song “That’s My Kind of Night,” and Jason Aldean calling out Zac Brown in Luke’s defense.
Though country music feuding may be on a sharp rise here recently, it is not an uncommon or recent occurrence in country music by any stretch. Many artists have had a beef with the Grand Ole Opry over the years, including Johnny Cash and Stonewall Jackson. Curb Records has been in the middle of many feuds, most notably with Leann Rimes, Hank Williams III, and a big one with Tim McGraw that pitted cross-town heavyweights Mike Curb and Scott Borchetta against each other. But nothing gets folks talking like a good old artist on artist donnybrook. Here are some of the most infamous over the years.
Dolly Parton and Porter Wagoner were one of country music’s most legendary pairings, but when Dolly wanted to leave the Porter Wagoner camp in 1974, things turned heated. Parton did the best she could to leave Porter’s side in an amicable way, even penning and performing her legendary song “I Will Always Love You” for her long-time singing partner. But Porter turned around and sued her for $3 million in a breach of contract suit in 1979.
However, the two made up eventually, and Porter performed with Dolly on her TV variety show in 1988. Dolly Parton was also by Porter Wagoner’s side when he passed away in 2007.
In the midst of Billy Ray Cyrus’s “Achy Breaky Heart” success, Travis Tritt was asked what he though about it, and always willing to be a lightning rod, Travis Tritt responded, “I haven’t seen his show so I can’t say anything about that. I haven’t seen the man personally, so I can’t say anything about him personally. I haven’t listened to his albums, so I can’t make a statement about that. But I have seen the video and I have heard “Achy Breaky Heart”, and I don’t care for either one of them. It just seems kind of frivolous. The video doesn’t appeal to me because it shows him stepping out of a limousine in front of thousands and thousands of fans, and nobody’s even heard of this guy.. Garth Brooks didn’t even do that. It doesn’t seem very realistic to me.”
Travis Tritt recalled in his autobiography Ten Feet Tall and Bulletproof, “I apologized to Billy Ray, told him I hoped he sold ten million copies of the record. Went home. I sent Billy Ray a peace lily and a get well card because I heard he’d been feeling bad enough to cancel his Fan Fair appearance. Headline in the local paper the next day. ‘Travis Tritt Trashes Billy Ray Cyrus.’ The more I said about it, trying to rectify the situation, the worse it got.”
Waylon Jennings really didn’t like Garth Brooks, and wasn’t very good at hiding it. Though in the portions about Garth in Waylon’s autobiography he was careful not to use Garth’s name, during interviews in the 90′s Waylon would regularly let his anti-Garth anger slip. For example in an interview with The Inquirer form September, 1994, Waylon said about Garth, “I think he’s the luckiest s.o.b in the world. He’s gotten more out of nothing than anybody I can think of. I’ve always accused him of sounding like Mr. Haney on Green Acres.”
There’s another Waylon quote about Garth that goes something along the lines of “Garth Brooks did for country music what panty hose did for finger fucking.” But there has yet to be a verifiable attribution of the quote.
Still to this day, not much is known about the exact details of the feud between these two men, but in the mid-70′s you couldn’t find two artists more tied to the hip than Waylon and Tompall. Tompall was the proprietor of Hillbilly Central in Nashville—a renegade studio where Waylon mixed and mastered his album Honky Tonk Heroes, and recorded his album This Time. Waylon and Tompall appear together on Wanted: The Outlaws—country music’s first million-selling album. The two became close friends and were kindred spirits from their hated of Music Row’s business practices. They would spin long hours battling each other on pinball machines or picking out tunes or playing pranks on each other. But when the friendship went south in the late 70′s, it went south hard, and the two men never resolved their differences before their respective deaths, despite both men still insisting on their deep love and appreciation for each other.
The crux of the beef between two of country music’s most famous sons is that Hank3 felt Shooter Jennings stole his persona. Hank3 had a song called “Dick In Dixie” that included the line, “I’m here to put the Dick in Dixie, and the cunt back in country.” Shooter, who previously had been in a rock band called Stargunn, came out with his first country record entitled Put The ‘O’ Back In Country in 2005, and Hank3 perceived the title was a little too close for comfort.
If you wanna go down that road and rip us off, mutherfucker, I’ll see you in ten years and five thousand shows down the road.” Hank3 said. We’ll see where the fuck you’re at. You know, I called him out and just flat out said, “fuck you if you’re gonna rip us off like that on your first release.”
Shooter for his part seemed unwilling to reciprocate the feud, saying “You know what, I don’t even comment on these things, really. I don’t even know him. I met him once, I think, for a second. And somehow all this stuff started about how he hates me. I don’t know. It’s, like, stupid.”
In fairness to Shooter, Carlene Carter had used the line “If that doesn’t put the cunt back in country, I don’t know what will” at a show in New York in 1979 when her mother June Carter and father-in-law Johnny Cash were in attendance. Eventually Shooter and Hank3 reportedly buried the hatchet.
Hank3 is the legitimate son of Hank Williams Jr., but Hank Jr. was not Hank3′s everyday father. Hank3 was raised by his mother, and usually only saw Hank Jr. once a year when growing up. In 2001, Hank Jr. began collaborating with Kid Rock in songs like “The ‘F’ Word” and others, and Hank Jr. often referred to Kid Rock as his “rebel son.” This stimulated a rumor that Kid Rock was in fact Hank Jr.’s biological offspring. Though both men denied it, the urban myth grew legs, and Hank Williams III began to be asked by people if Kid Rock was his brother, which didn’t sit too well.
Then the situation escalated when Kid Rock accosted Hank3 at a show in Detroit, trying to patch up the strained relationship between Hank3 and his father. “He kept trying to come on the bus, you know, him and Pam Anderson, and all that shit,” Hank3 recalls. “And I said, ‘Tell that motherfucker I got nothing to say to him,’ and then he finally get his way back in there and tells me how I need to be treating my father, and I’m like, ‘All right, you crossed the line motherfucker.’ And I don’t know how many times I have to say it: No, he’s not my fucking brother . . .”
The altercation eventually led to the line in Hank3′s song “Not Everybody Likes Us,” “Just so you know, so it’s set in stone, Kid Rock don’t come from where I come from. Yeah it’s true he’s a Yank, he ain’t no son of Hank, and if you though so god damn you’re fucking dumb.”
It is considered one of country music’s most legendary moments—when Charlie Rich took out his lighter at the 1975 CMA Awards and burned the envelope announcing John Denver as Entertainer of the Year while Denver watched via satellite. Rich had clearly been drinking, and his antics were taken as an act of defiance against the intrusion of pop influences into country music, and have since become a rallying cry for country music purists.
Recently when video surfaced of the incident, people began to question what Charlie Rich’s true intentions were because Rich didn’t appear to look as malicious as the moment had been materialized in many people’s minds without the aid of the archived footage. Though historians and the Country Music Hall of Fame clearly spell it out as being considered a conflict at the time, Charlie’s son Charlie Rich Jr. says that his father was simply trying to be funny. So maybe there was a Charlie Rich vs. John Denver, or maybe there wasn’t, but the moment still makes for great country music lore.
Probably not much more than the names of these two needs to be said to to infer that they wouldn’t get along. Maines started the scuffle in response to Toby Keith’s song “Courtesy of the Red, White, & Blue” saying, “I hate it. It’s ignorant, and it makes country music sound ignorant. It targets an entire culture—and not just the bad people who did bad things. You’ve got to have some tact. Anybody can write, ‘We’ll put a boot in your ass’ … ”
Toby Keith’s response? “I’ll bury her. She has never written anything that has been a hit…” Maines kept up the heat, wearing a shirt with the letters F.U.T.K. on the 2003 ACM Awards. And of course, all of this was exacerbated when Maines criticized President George Bush at a concert in London a month before.
Keith was the one to publicly bury the hatchet, saying in August of 2003, “You know, a best friend of mine lost a two-year-old daughter to cancer. I saw a picture of me and Natalie and it said, ‘Fight to the Death’ or something. It seemed so insignificant. I said, ‘Enough is enough’ People try to make everything black and white. I didn’t start this battle. They started it with me; they came out and just tore me up. One thing I’ve never, ever done, out of jealousy or anything else, is to bash another artist and their artistic license.”
Toby Keith vs. Kris Kristofferson
It sure made for a juicy story at the time, but according to both of the named belligerents, it was a feud that never was. In April of 2009, actor Ethan Hawke published a story in Rolling Stone that without naming his name, accused Toby Keith of saying to Kris Kristofferson at Willie Nelson’s 70th birthday in 2003, ““None of that lefty shit out there tonight, Kris.” According to Hawke, a rolling argument ensued that ended with Kris Kristofferson saying, ““They’re doin’ to country music what pantyhose did to finger-fuckin’” (see Waylon Jennings vs. Garth Brooks above.)
However, according to both Toby Keith and Kris Kristofferson, the incident never happened. Even more damming to Ethan Hawke and Rolling Stone, though Toby Keith became famous from his flag-waving songs, he’s a registered Democrat, making the likelihood Kieth saying to Kristofferson “lefty shit” very unlikely. Ethan Hawke and Rolling Stone stood by their story, but the press who perpetuated it got an earful from Toby about it at the 2009 ACM Awards.
Feuds that involve accusations of songs getting ripped off can get especially nasty, and this was the case when Jason Isbell took to Twitter to accuse Dierks Bentley of ripping off his song “In A Razor Town.” “‘Dierks’ has officially ripped off my song ‘In A Razor Town.’” Isbell fired off. “Dierks is a douchebag. The song of Dierks is called ‘Home.’” Isbell continued to pummel Dierks through Twitter, even getting political because of the flag waving nature of “Home.” Dierks in his defense referred to an interview one of the song’s co-writers Dan Wilson did with ASCAP that explained how the song came together.
The result? Though Isbell went silent after he said he was told to do so by his lawyer, if there was ever litigation over the song, the results were never made public. Isbell has since in interviews blamed his heavy drinking at the time for his Twitter tone. Though the two songs do sound similar, whether it was truly a ripoff or not seems to remain inconclusive.
Robert Earl Keen put Toby Keith in his crosshairs when he believed Keith lifted the melody from his song “The Road Goes On Forever” for his 2010 song “Bullets In The Gun.” Keen recalls, “I got all these calls from my friends. They were saying, ‘This is ridiculous. What are you gonna do? I felt like this individual had been picking on me for a long time, and I was sick of it. So instead of getting really ugly about things—I don’t really believe in lawsuits or threats—I took the Alexander Pope road and answered this guy in song.”
Keen recorded “The Road Goes On And On” as a shot at Toby Keith (though he never mentions his name), with lines that included:
You’re a regular jack in the box
In your clown suit and your goldilocks
The original liar’s paradox
Your horse is drunk and your friends got tired
Your aim grew weak and uninspired . . .
Toby Keith has never formally responded to the accusations.
This battle of heavyweights ensued when Eric Church was quoted in Rolling Stone in late April of 2012 saying, “Honestly, if Blake Shelton and Cee Lo Green turn around in a red chair, you got a deal? That’s crazy. I don’t know what would make an artist do that. You’re not an artist. Once your career becomes about something other than the music, then that’s what it is. I’ll never make that mistake. I don’t care if I starve.”
Miranda Lambert, who is married to Blake Shelton and also has a reality show past, came out swinging, saying through Twitter, “I wish I misunderstood this . . .Thanks Eric Church for saying I’m not a real artist. You’re welcome for the tour in 2010,” referencing Church’s opening spot on one of her tours.
Eventually Eric Church apologized, saying, “The comment I made to Rolling Stone was part of a larger commentary on these types of reality television shows and the perception they create, not the artists involved with the shows themselves. The shows make it appear that artists can shortcut their way to success… I have a problem with those perceived shortcuts, not just in the music industry…I have a lot of respect for what artists like Carrie Underwood, Kelly Clarkson, and my friend Miranda Lambert have gone on to accomplish. This piece was never intended to tear down any individual and I apologize to anybody I offended in trying to shed light on this issue.”
As some have pointed out since, Eric Church apologized to Miranda, but never apologized to Blake.
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Eric Church also created a firestorm with Rascal Flatts in 2006. While playing in an opening slot, he purposely played too loud and for too long after numerous requests to respect the tour’s wishes, resulting in him being kicked off the tour. It also resulted in a young starlet named Taylor Swift getting a chance to open on the big tour, which many experts give credit for helping Taylor’s meteoric rise.
Blake Shelton vs. Ray Price
When Blake Shelton’s comments about how he considered country music’s traditional fans “Old Farts and Jackasses” came out, Country Music Hall of Famer Ray Price shot back, saying, “Every now and then some young artist will record a rock and roll type song , have a hit first time out with kids only. This is why you see stars come with a few hits only and then just fade away believing they are God’s answer to the world. This guy sounds like in his own mind that his head is so large no hat ever made will fit him. Stupidity Reigns Supreme!!!!!!! Ray Price (CHIEF “OLD FART” & JACKASS”) ” P.S. YOU SHOULD BE SO LUCKY AS US OLD-TIMERS. CHECK BACK IN 63 YEARS (THE YEAR 2075) AND LET US KNOW HOW YOUR NAME AND YOUR MUSIC WILL BE REMEMBERED.”
Blake Shelton later apologized, saying, “Whoa!!! I heard I offended one of my all time favorite artists Ray Price by my statement “Nobody wants to listen to their grandpas music”..And probably some other things from that same interview on GAC Backstory.. I hate that I upset him.. The truth is my statement was and STILL Is about how we as the new generation of country artists have to keep re-inventing country music to keep it popular. Just EXACTLY… The way Mr. Price did along hid journey as a main stream country artist.. Pushing the boundaries with his records. “For The Goodtimes” Perfect example with the introduction of a bigger orchestrated sound in country music.. It was new and awesome!!! I absolutely have no doubt I could have worded it better(as always ha!) and I apologize to Mr. Price and any other heroes of mine that it may offended.”
Ray also later apologized to Blake Shelton for being so harsh, and along with wife Miranda Lambert, they attended a Ray Price show in Oklahoma to patch things up in person.
Country music in 2013 feels like the best of times, and the worst of times. While a few top male performers perpetrate untold atrocities on the integrity of the genre, the rise of independent music and infrastructure in the marketplace is now almost to the point where it equals its corporate counterpart. Quality songs and worthy artists are beginning to see more and more support, while current events and new outlets create avenues for substantive music to find its way to hungry ears. It is so easy to focus on the negative because it still seems to pervade the popular consciousness. But here are twelve reasons it is looking up for country music in 2013.
Yes, Kacey Musgraves. Even if you see her as some Music Row machination meant to offer an alter ego to the Taylor Swift’s of the world (Taylor equals Kacey’s noms with 6 herself), at least mainstream country is now offering a choice to consumers. What Musgraves’ symbolizes is that you don’t have to prove overwhelming commercial success to get noticed. Her biggest hit “Merry Go ‘Round” didn’t even make the Top 10 of Billboard’s Hot 100 Country Songs. Musgraves is a songwriter in a traditional sense, even if some of her best, and most-heady material didn’t make her big debut album. The reason she was able to rake up so many nominations is because of her songwriting credits, accounting for half of her CMA considerations. Kacey Musgraves’ 6 CMA nominations proves that regardless of how stupid country music’s leading males are trying to make the genre, in 2013, songs matter.
Yes ladies and gentlemen, it is getting dirty out there, and the more artists that speak out, the more other artists gain the courage to join the chorus. And not to shy away from the fight, Kacey Musgraves could be characterized as leading the charge, coming out multiple times to complain about where country music is headed. Alan Jackson also had some choice words recently, as did Gary Allan, Tom Petty, and most recently Zac Brown. Country music may be crossing more unfortunate lines than ever, but at least it’s genuine artists are being vocal about their dissent.
Yes, it was bad that Blake Shelton had to disrespect large segments of country music listeners when he ostensibly called them “old farts and jackasses,” but the backlash that ensued became a unifying element for disenfranchised country fans. Ray Price wrote a blistering letter to Blake Shelton, resulting in Blake having to make a public apology. Dale Watson wrote a song about the whole incident which has since become one of the most popular numbers of his show. An “Old Farts & Jackasses” group on Facebook boasts over 93,000 “likes,” and the list goes on from there. Blake Shelton awakened a beast, and gave it a rallying cry. Who would have thought in 2012 that people would be proudly calling themselves “Old Farts & Jackasses” ?!?
The days of inducting traditionally-leaning artists and bands seemed to be over with the Grand Ole Opry’s recent membership invitations to Darius Rucker, Keith Urban, and Rascal Flatts. But lo and behold, the Grand Ole Opry can still get it right, inducting an act that has paid their dues many times over, and deserve to be recognized as one of the forefathers to the re-popularization of string bands that has seen the rise of bands like Mumford & Sons, The Avett Brothers, and The Lumineers. The news is not only good for Old Crow Medicine Show, but other artists who may not be top tier names in country music, but deserve the distinction.
It’s so easy to read the headlines and see the top of the Billboard country charts and say that all is lost in the genre. But as long as Sturgill Simpson is out there touring, you can’t say country music is dead. Out on tour with Dwight Yoakam, playing the Grand Ole Opry, inspiring critics from coast to coast and overseas to sing his praises, Sturgill Simpson is giving hope for the future to country fans that has a value beyond his music specifically.
Yeah, I’m not too much for the silly cliffhanger drama-laden plot lines either, but Nashville has become an invaluable teacher of how the music business works, specifically on the songwriting side of things. An educated consumer makes better choices, and if they see and understand how backroom politics stultify the creativity and freedom of artists, and how a song goes from inspiration to the big stage, they just may make better choices, and think about where the music they enjoy comes from. Furthermore, Nashville has become a music outlet to a nationwide audience that may otherwise not be exposed to the music of independent artists like Caitlin Rose, Lindi Ortega, Ashley Monroe, Shovels & Rope, and so many more.
There are many good, independent country bands that are enjoying a rise in interest in 2013, but there may not be a bigger rags to riches story (so to speak) than Hellbound Glory landing an opening spot on a Kid Rock arena tour. Going from playing half-empty bar rooms to sold-out arenas, Hellbound Glory is seeing the recognition their quality country music has been deserving for years. And the opportunity has been paralleled by bigger crowds and better support even after the arena tour ended.
Caitlin Rose, Valerie June, Lindi Ortega, Austin Lucas, Amanda Isbell, Cory Branan, Jonny “Corndawg” Fritz, and so many more that call east Nashville home (or at least to some extent) have seen career watermarks and burgeoning interest in 2013. Forget Music Row or the circus downtown, Nashville, not Austin, is the new vibrant epicenter for independent music, and the artists there pushing and supporting each other is fostering a creative environment that regardless for how long it lasts, will be looked back upon fondly in the future as a time and place that got it right, and set the bar for artistry and substance. Add on top of that already-established and influential artists like Jack White and Dan Auerbach, and Nashville is the place to be in 2013.
“Cowboy” Jack Clement and Bobby Bare Inducted Into the Country Music Hall of Fame
Yes, two very important players in the rise of country music’s “Outlaw” movement finally got their due this year, and it was especially timely for “Cowboy” Jack Clement who would pass away only a few months after the announcement. Though there is still a long list of worthy inductees that many fans worry will never get in, these two men prove that the Outlaws will not be forgotten, and move other important country music icons one step further to being inducted themselves.
If you feel like the Outlaws of country music have not been dealt a fair deal and they need need a new institution to give them the support and recognition they deserve, your wishes were granted in 2013 when it was announced there will be a new Outlaw Country Music Hall of Fame in Lynchburg, Tennessee coming soon. Nashville may have swept their legacy off the streets like common refuse, but at least somewhere the Outlaws will ride eternally.
If you desire more validation that 2013 is the “Year of the Song,” then behold the overwhelming breakout success of Jason Isbell in 2013. Bolstered by his manager Traci Thomas, a bulldog of the Thirty Tigers group, Jason Isbell is becoming the defining songwriter of our generation. If you ever wished you could go back and re-live the heyday of Guy Clark and Townes Van Zandt in their prime, watching Jason Isbell and his 2013 tear is the next best thing.
With radio becoming less and less accessible through every measure of consolidation by Clear Channel and Cumulus, new outlets must open up to support independent music. And they are in 2013, and sometimes in the most uncanny places. David Letterman not only has been giving his stage over to artists like Dale Watson, Ray Wylie Hubbard, Pokey LaFarge, Shovels & Rope, and so many more, he’s been seeking out this talent to play his show as a fan of the music. Where big network TV debuts for independent artists seemed to be a thing of the past, now they seem to be a weekly occurrence.
Welcome ladies and gentlemen to the LIVE blog for the 2013 broadcast of CMA’s Fan Fest, dubbed over the last few years as “Country’s Night to Rock.” Since our live blogs for mainstream country’s big awards shows have been so successful over the years, and because we had many requests to also create a platform for commiseration as what they call “country” music will dominate ABC’s airwaves for the next 3 hours, it was decided we’ll give it a shot for this event too.
This is not a live event. It is culled from footage taken during the CMA’s Fan Fest in downtown Nashville June 6th through the 9th at LP Field. As the night progresses, we will post our observations in an attempt to give voice to the other side of the country music spectrum. You are invited to join in through the comment section below. All times Central time.
Here we go!
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10:05 PM: Welp, that sucked. The show, most of the performances, the fact that my online stream crapped out twice, throwing me off my game considerably. But thanks anyway for everyone showing up, and to all those that participated in the comments (positively and negatively).
Now let’s cleanse our palettes with some true Nashville rising stars that exude soul and true country artistry.
9:59 PM: So hard to pick the most evil pop country star right now, but it certainly is a male performer, and Luke Bryan makes a real good case for himself.
And yes, you have NO idea how hard it is for me right to not make a certain off-color remark about a portion of Luke Bryan;s anatomy. But I made a promise not to revisit that line of humor….
9:57 PM: Just don’t understand The Band Perry appeal.
9:49 PM: Kip Moore would get his bung hole bleached on stage if he thought it would make him a star. No scruples.
9:48 PM: From SCM’s rant on “Wagon Wheel”:
As if legions of college town string bands full of anthropology majors mercilessly regurgitation “Wagon Wheel” over and over to try and score hummers from undergrads after the show in their Volvos with the back windows tattooed with political stickers wasn’t enough, now Hootie has lent his back to the collective toil of the Western World to do everything humanly possible to run this song into the proverbial ever-loving ground so hard that it taps the mantle of the earth and causes a catastrophic volcanic and tectonic event that wipes out the entire human fucking race.
9:45 PM: Who is Old Crow Medicine Show? Huh, never heard of them.
9:39 PM: Brad Paisley and Carrie Underwood will host the CMA Awards again in November. Are we surprised? They have pretty good chemistry when the writers give them decent material.
9:36 PM: And yes, we sort of found a new online stream, though it’s kind of like trying to find a nipple through 1980′s cable filter fuzz.
9:33 PM: Kid Rock is like the accidental anchovie on my Zac Brown / Blackberry Smoke Hawaiian pizza right now. The reason his nickname is the “Wet Cigarette of Country Music” is because he can take anything and make it trashy.
9:26 PM: Yes, you absolutely positively can’t have any single music event in the English-speaking world regardless of genre or context without a washed up Sheryl Crow showing up and wheezing into a microphone at some point.
9:24 PM: A lot of people observing that Will Hoge’s Chevy Truck commercial is the most country thing on this presentation.
9:20 PM: If Little Big Town’s “Pontoon” didn’t mention “motorbotin’,” and “motorbotin’” didn’t have an adolescent sexual connotation, the song would have never made it out of ASCAP’s songwriting cubicles.
9:17 PM: Just remember folks as you’re watching Lenny Kravitz, he later flipped off this same crowd when they wouldn’t get into his 12-year-old rock anthem.
9:15 PM: Carrie Mess on Twitter:
“Hey Miranda, your boobs are on fire.”
“Are those vegan leather boots Carrie [Underwood]is wearing? Is she vegan pocahontas?
9:13 PM: Alright , so as we work to re-connect to the broadcast, well share some observances from other folks on Twitter and from around the web…
9:10 PM: Still trying to find a good online stream of the program folks! Looks like the CMA’s are shutting all the live online feeds down like the creativity in a Music Row recording studio. We’ll keep trying!
8:58 PM: Sorry folks, still trying to re-connect. All of our fail safe online TV watching outlets are not working at the moment. If anyone can procure a good link, please share in the comments section.
8:48 PM: Sorry folks, we are on the West Coast, and the only way to watch live is online, and our stream just got yanked. We’re working on getting re-connected!
8:43 PM: Aaaaaannndd, there goes our live feed. Working to re-connect!
8:42 PM: Got no problem with Zac Brown, though he’s not really my bag. Interesting footnote: Shooter Jennings, an artist that struggles to pack 350-person venues is charging $85 for meet and greet packages at his shows. Zac Brown band who regularly sells out 15,000-20,000 person shows at arenas, has an “eat and greet” where you eat a meal with Zac Brown and the band…. $55.
8:38 PM: Eric Church is not Outlaw, just ask him……but he’ll sell you an Outlaw T-shirt.
8:35 PM: Wait a second, did this asshole in Little Big Town really compare Eric Church with Willie, Waylon, and Cash ?!?! Blasphemy!
8:32 PM: There’s something especially sad a desperate about idolizing Luke Bryan and trying to craft your career around learning from his success, but falling short. That’s where Jake Owen is.
8:28 PM: “Double wide trailer back in the holler on a country road”? Jake Owen lives in an antiseptic penthouse suite and spent $800 on a fung shway expert to align his modernist couch and nouveau coffee table with his Tao.
8:25 PM: Hillary Scott is wondering why her man doesn’t take her downtown anymore? Because she’s got one 8 months in the oven. We don’t need anyone’s water breaking on the subway.
8:23 PM:Um, music?
Actually screw that, I’d rather see this chick school these dudes in ping pong than a Lady Antebellum live performance any day.
8:22 PM: How stereotypical is it that they got an Asian to be the super ping pong shill in this stupid bit?
8:15 PM: The name of this song is “Highway Don’t Care (hot pop star saves struggling has-been star’s dwindling career in label-forced collaboration)”.
8:12 PM: Who knows how much they cleaned this up for the tele, but this is the most on-pitch live performance I’ve seen from Taylor Swift in a while.
8:08 PM: Watching Taylor Swift 2013 is like watching the awkward girl next door nearly breaking her ankle trying to walk around in high heels. Just be yourself.
8:06 PM: Someone ask Taylor Swift what Max Martin, Shellback, and Scott Borchetta did with her soul after they stole it.
8:01 PM: What the hell is this? It ain’t even at the CMA Fan Fest. Jason Aldean is such a tool, and “1994″ was a total dud.
8:00 PM: They edited out the part when Jason Aldean got his various wallet chains stuck in the braces of one jubilant 14-year-old fan in the front row.
7:56 PM: I just don’t get these country music groups like Little Big Town and Lady Antebellum. It’s hard to identify with the various players. It all seems so arbitrary and random. One of the reasons we love music is through identifying with individuals. These groups are simply designed to take advantage of award show nominations.
7:51 PM: Working to confirm that Blake Shelton’s drummer was indeed injured before the performance, and was replaced by a Chippendale’s dancer, complete with sleeveless tuxedo and white tie.
7:49 PM: Yes, here’s the reigning Country Music Association Entertainer of the Year….to sing a rap song. Beam me up.
7:47 PM: Leave it to pop star Kelly Clarkson to be the first performer to feature some traditional country instrumentation.
7:46 PM: SECURITY! There’s a banjo on stage!
7:44 PM: Man, that opening riff of Kelly Clarkson was straight up ripped off from Led Zepplin’s “Heartbreaker.”
7:42 PM: This show teases work like disclaimers. “WARNING: Coming up, Jason Aldean, Darius Rucker, and Taylor Swift collaborating with Tim McGraw.”
7:39 PM: Interesting factoid, it took 7 Hobbits using shoehorns to squeeze Luke Bryan into his skinny jeans.
7:37 PM: Interesting factoid, The Perry Brothers’ hair was used by Peter Jackson to model the hair of the Hobbits in his latest movie.
7:35 PM: Kimberly Perry of The Band Perry needs to focus more on delivering an inspiring vocal performance instead of her pop-inspired stage gesticulations. They make her performances annoyingly breathy, though this is admittedly better than her AWFUL ACM performance.
7:32 PM: And “Ho-Hey” by the Lumineers is now officially the most ubiquitous song in the history of music.
7:30 PM: Going back to Carrie Underwood opening with a Guns & Roses song—this is par for the course for primetime country broadcasts. They feel the need to apologize for being country, so they always start off with a off-genre song.
7:25 PM: Of course we couldn’t get the performance of Brad Paisley with Charlie Daniels from Fan Fest. That would be against their “no gray hair” policy.
7:23 PM: The thing is Hunter Hayes is a good musician, who apparently can play anything. But he uses his talents for the forces of pop evil.
7:21 PM: Hunter Hayes on the Ellen Show, courtesy of Farce The Music:
7:20 PM: Hunter Hayes is the Justin Bieber of country music. Eternally pre-pubescent.
7:18 PM: So apparently I missed Carrie Underwood channeling Axl Rose?
7:16 PM: What??? They allowed Brian Kelley to sing??? That 7 seconds right before the commercial was the first peep I’ve heard from that dude during a performance in 2 years.
7:14 PM: Sorry folks, our online stream crapped out, but we got a good one now! Right in time for….oh, Florida Georgia Line.
7:00 PM: Here we go!
6:58 PM: In the spirit of full disclosure, I am currently located on the West Coast, so I am trying to hop 2 time zones away so that I can pick up the live feed. This may result in some broadcast interruptions as our feed has already gone down numerous times.
6:55 PM: One performance we will probably not be seeing is the one put on by Lenny Kravitz. During CMA Fan Fest, he went 15 minutes over his appointed set time, trying to get the crowd engaged into chanting a 12-year-old rock song. They would have none of it, and eventually Kravitz chided the crowd for not being able to “get with love,” and then ironically, flipped them the double bird as he walked off stage. So much for his upcoming “gone country” career.
6:52 PM: So according to Saving Country Music intel, the event is going to be hosted by Little Big Town, and will feature performances by Carrie Underwood, Brad Paisley, Kelly Clarkson, Blake Shelton, Taylor Swift, Tim McGraw, Keith Urban, Eric Church, Kid Rock, Lenny Kravitz, Lady Antebellum, Jason Mraz, Kacey Musgraves, Jake Owen, Kellie Pickler and Darius Rucker.
During Johnny Cash’s legendary concert at San Quentin Prison in 1969, photographer Jim Marshall said to Johnny backstage, “John, let’s do a shot for the warden.” The result was the photograph above that mostly remained under wraps until 1998. That is when producer Rick Rubin decided to use the iconic photo in an ad in Billboard magazine decrying country radio’s lack of love for Johnny’s second album on Rubin’s American label called Unchained. Despite no industry support, Unchained went on to win the 1998 Grammy for “Best Country Album.”
Since then the image of the angry face and the raised middle finger has become an iconic symbol of defiance against the direction of country music. As indecent as a raised middle finger happens to be in the first place (and the propensity for some seedy country fans and artists to over-saturate its use in every single photo of them), it has come to mean much more than its vulgar connotation in the fight to save country music.
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Willie Nelson’s middle finger photo was shot by a photographer named Sean Moorman on Willie Nelson’s tour bus on July 26, 2002. The title of image is “Willie Nelson Sending Jim Marshall Regards.” Both the Jim Marshall photo of Johnny Cash and the Sean Moorman photo of Willie stimulated litigation when Urban Outfitters printed up Johnny Cash middle finger T-shirts without permission, and Spencer Gifts did the same with Willie.
Dale Watson doing his best Johnny Cash impression:
Hank Williams III and David Allan Coe in younger days:
Jonny (Corndawg) Fritz telling a fan they’re #1 (Kayley Luftig – Photographer):
Bob Wayne, adding the stink eye for extra emphasis:
Jeff Austin of the Yonder Mountain String Band doing the double bird (Chad Smith Photography):
Keith Richards’ middle finger is insured for $1.6 million. Yes, that one he’s point at you. And no, I’m not kidding.
The wet cigarette of country music, Kid Rock. And Saving Country Music friend “Pointer” from a downtown Nashville excursion in 2011 getting his picture with Kid Rock on the front of Tootsie’s Orchid Lounge.
Townes Van Zandt, from the back cover of his 1972 album The Late Great Townes Van Zandt.
Kellie Pickler telling Kanye West “Fuck You!” for not liking country music (see video).
Lenny Kravitz giving the crowd at the 2013 CMA Fan Fest the double bird because they “couldn’t get with love” during his elongated set that left the crowd underwhelmed.
A sign hanging up in the Johnny Cash themed bar and music venue in Austin, TX called the Mean Eyed Cat.
The ad Rick Rubin placed in Billboard Magazine after Johnny Cash won the 1998 Grammy for Best Country Album:
Authenticity and dysfunction are regularly celebrated in country music, and what better way to celebrate that than to look back in time a some of the most notable mugshots and arrests of country music’s most notable stars.
Cash was arrested twice. The first was after a trip to Mexico when he tried to hide 1,163 Dexedrine and Equanil tablets in his guitar case while crossing the border near El Paso, TX in 1965. Since the drugs were prescription instead of illegal narcotics, Cash received a suspended sentence. He was arrested again in 1966 in Starkville, Miss. for … get this … picking flowers late at night. The property owner pressed trespassing charges, and Johnny spent time in the Starkville County Jail, resulting in the song of the same name.
Though Cash was famous for his concerts at Folsom Prison and San Quentin, he never served time in anything bigger than a city jail (the bottom mug was just for show).
The trouble started for Willie Nelson way back in 1960 when he was arrested for speeding in Pasadena, TX (near Houston). And then came the pot busts:
- 1974 – For possession in Dallas, TX.
- 1994 – For possession in Hewitt (near Waco) when Willie pulled his Mercedes off the side of the highway for a siesta and an officer found a joint in the ashtray and eventually a bag of marijuana. The judge ruled the evidence inadmissible and the charges were dropped.
- 2006 – For possession in St. Martin Parish, Louisiana for one-and-a-half pounds of marijuana and 3 oz. of hallucinogenic mushrooms. Willie, his sister Bobbi, and Willie’s manager were all arrested, eventually receiving 6 months probation.
- 2010 – For possession of 6 ounces of marijuana at the Sierra Blanca, Texas border checkpoint. Willie eventually only had to pay a fine.
Jerry Lee Lewis
In the dead of night in November of 1976, a drunken and armed Jerry Lee Lewis showed up to the gates of Graceland demanding to see his fellow Sun Studios alum Elvis right then and there. The guard rang Elvis who refused “The Killer’s” request, and then rang Memphis police when Lewis began waving a gun around.
Hank Williams Jr.
You may think because Hank Jr. was the last of his rowdy friends to settle down that at some point he would wind up in the pokey, but it turns out his mugshot was for a bunk charge from a 19-year-old in March of 2006 that said Jr. put her in a choke hold after she refused to kiss him. Jr. turned himself in, and after finding out the girl was looking to cash in big on the accusation and that there was no real evidence of the altercation, the charges were dropped.
In November of 2003, Glen Campbell was arrested at his home near Phoenix, AZ after hitting and running while drunk in his BMW. Then while Campbell was being processed, he kneed an officer in the leg, which added an aggravated assault of a police officer charge. Campbell pleaded down some of the counts, and eventually spent 10 days in jail.
Domestic abuse charges landed Rodney Atkins in front of the police camera in February of 2012, but the news about the charges didn’t come out until his wife filed for divorce a few weeks later. The news also came on the heels of Rodney re-signing with Curb Records. The charges were later dropped as part of the divorce settlement.
An indelible image of country music’s first superstar in this midst of his downfall in 1952, leaving the jailhouse in Alexander City, Alabama.
Billy Joe Shaver
Notable country music songwriter Billy Joe Shaver sits on the witness stand stemming from an altercation behind Papa Joe’s bar near Waco, TX in 2007 when Shaver shot a man non lethally in the face with a .22 pistol. The incident became a piece of country music lore when Dale Watson wrote a song titled “Where Do You Want It?” allegedly for the question Shaver asked his victim before he pulled the trigger. The high-profile trial incuded Willie Nelson showing up as a Shaver character witness, and eventually all charges were dropped against when it was ruled Shaver was acting in self defense.
In 2003, daughter Judd was pulled over for speeding and subsequently blew a .175, lading her in jail before she posted a $500 bail. It all happened right down the street from Music Row, so maybe it’s true what they say about the country music industry driving artists to drink.
Just like the “Wet Cigarette of Country Music” to get arrested at a Waffle House. In October of 2007, Kid Rock and his crew stopped into the DeKalb County, Georgia eatery where they proceeded to brawl with gawking patrons. Other members of Kid Rocks posse were also arrested. Rock was found guilty of simple battery. It was his 4th chance to strike the perp pose over the years for various charges.
David Allan Coe
You better believe DAC would be here, but unfortunately this is the biggest photo we can drum up of David from his time in the Ohio State Penal System.
Coe was also arrested in 2008 after an altercation in a casino when a misunderstanding about a jackpot resulted in security officers and police wrestling Coe to the ground. Coe countersued in 2010 for false arrest and assault. The entire altercation was caught on tape.
Yes, we know that some of the younger generation of country performers don’t want to pander to the “old farts and jackasses,” but maybe Billy Currington took it a little too far when he threatened a 70-year-old boat captain for coming too close to his waterfront property in Tybee Island, Ga. Currington was cited in April of 2013 for making “terroristic threats” and “abuse of an elder.” Case is still pending.
Johnny Paycheck spent 4 years battling an aggravated assault charge after shooting a man in a Hillsboro, OH bar during a brawl. Though multiple appeals kept Paycheck out of prison for a while, he was finally sentenced to the Chillicothe Correctional Institute in 1989 where he served two years before being paroled.
In May of 2008, Louisiana country star Chris Cagle got in a tussle with his girlfriend Jennifer Tant at the Player’s Bar in Nashville before the couple took the bout home. Cagle wielded Jennifer’s purse. Jennifer weilded an umbrella, and they both ended up in the big house. Police said they were both too drunk and disorderly to press any serious charges.
When the underground country band from Austin, TX went to release their first album, they chose their mutual mugshots from the same Williamson County roundup to make up the CD art.
No mugshots of George Jones’s numerous run ins with the law during his drinking days have ever surfaced, but video did a few years ago from a George Jones documentary.
Get well Randy! …. but we couldn’t make this list without you. Travis was forced to pose for police camera twice in 2012; once after a drunken fight at a church, and the other after driving drunk….and naked.
Recently Brad Arnold from the rock band 3 Doors Down told Billboard he’s planning to “Go Country” on his first solo album. In 2013, stories of entertainers that “go country” are routine occurrences instead of reasons for surprise, intrigue, or outrage, because country music has officially become the default repository for talent fleeing the collapse of mainstream rock or the place to find strength in the twilight of a dying entertainment career.
Here are some of the most notorious “gone country” moments over the years.
Even the traditionally pliable, easily-wooed pop country fan saw through this one. When Jessica Simpson told the world she wanted to go back to her roots, she unfortunately didn’t mean skipping her weekly peroxide treatments. Though curiosity factor and a catchy single in “Come On Over” garnered her some minor attention, her first (and only) country album, 2008′s Do You Know only sold a grand total of 173,000 copies, and Simpson quickly scrapped her “gone country” charade. Simpson’s low point was reached when fans at the Country Thunder Festival in Wisconsin notoriously booed Simpson virtually off the stage.
When the pop world got tired of her teen icon bit, her boobs were no longer buxom enough for Playboy, and after she was the very first contestant to get booted from, get this, “Hulk Hogan’s Celebrity Championship Wresting,” 80′s flash-in-the-pan Tiffany turned to country music to try and stop the circling of the drain known as her entertainment career. Remember her 2011 country debut Rose Tattoo and its lead single “Feel The Music”? Yeah, me neither. How did Tiffany promote her first country release? By going on tour with another 80′s teen idol, Debbie Gibson, in a retrospective dubbed “Journey Through The 80′s” that featured the two rehashing 80′s pop songs as well as performing Broadway show tunes. Now if that ain’t country…
Alright, so the punchline here is that the bald-headed goofball who regularly runs himself out of breath during highlight reel on Fox’s NFL broadcast actually did have a career in country music. But you know what, the 4-time Super Bowl winner and Football Hall of Famer wasn’t half bad when he belted out his version of Hank Williams’ “I’m So Lonesome I Could Cry.” Believe it or not, the song peaked at #17 on the country charts in 1976. Two Bradshaw country albums in 1980 had not nearly the success though, and Bradshaw eventually dropped back 20 yards and punted on his dream of being a big time country star.
Worst “gone country” story ever? Lionel is in strong contention for not even offering up original material, but simply taking the track list from his “Greatest Hits” album and rehashing it into pseudo-country songs with the help of a cavalcade of pop country puppets…and Willie Nelson. Country music rolled out the red carpet for Lionel like no other pop gone country performer before, with the ACM’s giving Lionel his own prime time special. The result? Richie’s “gone country” album Tuskegee was the best selling album in all of country for the first half of 2012, despite not one song on the album being anything the public hadn’t heard before, and without the album producing even one single with any significant radio play. And for this, yes, we did use the most unflattering picture of Lionel we could find.
Can you get any more pompus than superimposing yourself on the set of The Johnny Cash Show, sharing the stage with the Man In Black? Well that’s what Everlast, the front man for the 90′s rap group House of Pain did back in 2008 when he remixed Johnny’s “Folsom Prison Blues” with House of Pain’s only hit “Jump Around.” This wasn’t Everlast’s first run at country rap. In 2004 he released an album called White Trash Beautiful that had a country-rap feel; his first on the rap label Def Jam. The album was panned by critics, was a commercial flop, and Def Jam dropped him.
When the whole late 90′s angst “children of divorce” bit had run its course, singer Aaron Lewis of the depresso rock band Staind shed the eyebrow ring and started playing solo acoustic shows and calling them country after his rock radio support dried up, and despite the songs sounding no different from his acoustic rock solo work. His lead country single “Country Boy” was laughable at best, with self-aggrandizing lyrics and a silly self-righteous video. His second single, the formulaic “Endless Summer” had the dubious distinction of being the first song to name drop Jason Aldean.
Things did improve slightly on Lewis’s first LP, The Road.
Sheryl Crow is like a bad rash that spreads everywhere and won’t go away. It was only a matter of time before she brought her bland mix of genero pop and lame rock to the country airwaves, despite there being little to no difference sonically between her pre and post “gone country” material. It’s not that Sheryl Crow’s music is terrible. It’s the everywhere nature of her persona always being shoehorned into every televised music event, album compilation, awards show, etc. etc., regardless of genre or context. We get it. It’s Sheryl Crow. Enough already.
Kid Rock has been accused of “going country” many times from incorporating country elements into his songs, including with Sheryl Crow on their successful 2002 duet “Picture.” But Kid Rock has always flatly denied wanting to be part of the genre itself.
Darius Rucker, aka Hootie from Hootie & The Blowfish blew the rock scene for greener country pastures in 2008. However bland Hootie’s country music might be, he’s done a fair job over the years keeping his nose clean and not releasing anything too offensive. Some folks were up in arms when he was inducted to the Grand Ole Opry, but that is more on the Opry than Rucker.
Bing Crosby was actually the first pop star to go country. In 1944 he released a version of Al Dexter’s “Pistol Packin’ Mama,” and because Billboard had just launched a dedicated country chart, it became country music’s very first #1.
Bon Jovi became the first rock band to top the country charts with their song “Who Says You Can’t Go Home,” featuring Jennifer Nettles of Sugarland. That enticed the hair-era band to cut the album Lost Highway in Nashville. It included guest appearances by Big & Rich and Leann Rimes.
Metallica‘s song “Mama Said” off their 1996 album Load featured steel guitar and a cowboy-hatted James Hetfield in the song’s video. Hefield also covered Waylon Jennings’ “Don’t Y’all Think This Outlaw Bit’s Done Got Out of Hand” for the 2003 tribute album I’ve Always Been Crazy.
Mike D of the Beastie Boys, under the persona “Country Mike” released a country record in 2000 called Country Mike’s Greatest Hits, but he only made it available to friends and family. Bootlegs of the album are available, and copies of the record on vinyl bring top dollar on eBay.
Kevin Bacon, along with his brother Michael Bacon, have a band called The Bacon Brothers that play country rock. Since the brothers have been playing music with each other since they were kids, it’s hard to characterize them as “going country” even though Kevin is primarily known as an actor. The brothers also work together for music on TV shows and soundtracks.
Lady Gaga released “Born This Way (The Country Road Version)” in March of 2011, making tabloid writers run to their laptops to declare The Fame Monster was “going country,” but it was more a ploy to continue to drive sales for that one particular song.
Jewel, Kelly Clarkson, Smash Mouth’s Steve Harwell, Kevin Costner, Olivia Newton-John and Michelle Branch are some other non-country stars that have “gone country.”
If you needed any more proof that The Svengali of Country Music, one Shooter Jennings is all about creating a cult of personality and pursuing his name as product, just sit back and appreciate that in this recessionary economy when many artists are slashing ticket prices and making themselves more accessible, Shooter is now asking his hard working fans for $85 simply for the opportunity to shake his hand right before his show and walk away with a tote bag. Yes, quite a hefty price tag for someone who has recently been touting himself as a proponent for independent, grassroots music.
Announced a few days ago, “VIP meet & greet packages” are being offered at many of Shooter’s upcoming appearances, including at the Muddy Roots Festival this late August. What do you get for your $85? A T-shirt, a tote bag, 5 guitar picks (that grand total will cost Shooter less than $12-$15 wholesale), and this is my favorite one, an “Invitation to pre-show private shopping experience.” That’s right folks, for your hard earned $85, you get the exclusive opportunity to spend even more money on Shooter’s merch. What you don’t get for $85? Actual admittance to the show. That will cost you extra. So will the tacked on fees for buying the VIP ticket. After a transaction and convenience fee, the actual cost for a Shooter photo op is $90.64.
For an artist of Shooter’s size, and even ones many steps above him on the music food chain, this type of arrogant cash grab from fans is absolutely unparalleled. Furthermore, Shooter Jennings specifically asking to be dealt with in this manner of privilege at the Muddy Roots Festival is a complete insult to the standing culture and spirit of that particular festival, and all grassroots festivals for that matter. One of the things that makes grassroots festivals such an enjoyable experience is that nobody is above anyone, there are no VIP perks, and fans and artists interact freely.
Even more curious, the Muddy Roots Festival is one of the few events that Shooter has decided to purposely promote this $85 package for.
In May of 2011, SCM interviewed the Galaz brothers who are the promoters of Muddy Roots. They spoke specifically about the access the festival gives fans to the artists:
Anthony: The fans and bands were together. There was no barricade, no barrier, no VIP sections backstage. And that’s what gave the people who made the pilgrimage to Cookeville from whatever state or country such an experience, because all the bands they listen to, they could just go up and talk to them and hang out with them. There’s was nobody that was “too cool.” There were no pedestals.
Jason: I like that, there were no pedestals. It wasn’t, “Hey, there’s rock stars, let’s look at them, but we can’t talk or touch them.”
In August of 2011, SCM interviewed Zale Schoenborn, the promoter of the Pickathon Festival in Portland that this year is featuring Dale Watson, Wayne Hancock, Sturgill Simpson, Caleb Klauder, and many other country acts in a diverse lineup. Zale spoke specifically on how separating artists from fans and setting up VIP perks erodes the festival experience for everyone.
We designed the (Pickathon) space to where you come in and relate to the space without a lot of barriers. And that includes the artists. We don’t wall them off, we don’t have VIP sections, but we do create some communal spaces, and when the artists come out they’re part of the audience. It’s very common sense type stuff. It’s like what you would do if you were hosting people at your house. When people are planning it from X’s and O’s, those decisions about the human element fall to the numbers side. It’s unfortunate because those little things are what people tend to take away.
At last year’s Muddy Roots fest, the 86-year-old country music icon Ralph Stanley stayed after his set and signed every piece of memorabilia brought before him, and took pictures with anyone that wanted one, with no time limit, and no money changing hands for the autographs or photos. So did many of the other bands that played the festival. At Pickathon, after each performer plays, they go to a designated merch area where fans can get memorabilia signed and take pictures with the artists.
The meet and greet marketing tool is traditionally only reserved for large corporate country music festivals and top headliner names way beyond the sphere of Shooter Jennings who is a mid-level club draw at best. Many artists selling out arenas don’t even ask for this type of cash for meet and greets, if they even give their fans the option at all. Many times the meet and greet is for certain members of a fan club or an artist’s message board who have proved their fandom over the years. Even Taylor Swift has a system that rewards the loyalty of fans instead of wealth. At each concert, Swift has a team of people that fan out across the venue looking for attendees that show the most spirit, and hand select them for a free meet and greet opportunity after the show.
Kid Rock made headlines recently announcing he was charging only $20 for tickets for his summer tour, and was also working with venues and promoters to lower prices on food, beverages, and merchandise. “It’s gotten out of hand, price of concerts, the price of entertainment, period,” Kid Rock says. “I’ve been very fortunate, I’ve always tried to keep prices what I think are fair, and I’ve always said I’m proud that I can walk around with my head held high and look someone in the eye, knowing that I haven’t taken an un-honest dollar from a working man. I make a lot of money, I can take a pay cut. All my friends are taking pay cuts, that are in unions, that are farming in Alabama, whatever it is. I can surely take a pay cut, too.”
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Expect the next thing from Shooter to be an explanation of how this was all the result of a snafu between him and his marketing arm, or that he will offer even more incentives now, drop the price, or donate the proceeds to charity, and make a big point of shaking people’s hands at shows who didn’t pay the exorbitant fee, because like all of Shooter’s gross missteps, they’re always followed by a cavalcade of excuses and explanations that his surrogates, sycophants, and toadies always believe, while his underlying approach to selling himself as product and using the names of others as stepping stones remains the same.
Like I have always said to independent and underground music entities, you don’t need Shooter Jennings, Shooter Jennings needs you. Like a politician, Shooter has been out kissing babies. Taking artists out to Chuck E Cheese and buying bloggers drinks, playing artists on his radio show and shaking hands with fans over the last few years was simply setup to an opportunity to cash out on the backs of well-meaning underground roots artists, fans, and entities. And if this latest evidence doesn’t prove this to Shooter apologists, nothing will.
I once heard the worse thing a man could do is draw a hungry crowd
Tell everyone his name, pride, and confidence, but leaving out his doubt
I’m not sure I bought those words, when I was young I knew most everything
These words have never meant as much to anyone, as they now mean to me
Since Saving Country Music is in tune with the plight of the common man, and know many of Shooter’s fans would love to get their picture with him but can’t pay the exorbitant fee, we are manufacturing a life-sized, transportable photo-op of the picture below, to be provided at Shooter Jennings’ live performances. Poor, hapless Shooter fans and their friends can simply stick their faces through the provided holes, and have the next best thing to getting their picture taken with the Country Music Svengali himself. And it’s all free! (sorry, no tote bags will be given away)
(7-11-13 9:20 PM CDT): Shooter Jennings and/or his management have decided to drop the offer of VIP packages at festivals. As I said above, “Expect the next thing from Shooter to be an explanation of how this was all the result of a snafu between him and his marketing arm,” and on cue, Shooter surrogate Jon Hensley explains, “There was a miscommunication between myself and the company that makes these VIP upgrades possible.” You can read Jon Hensley’s entire statement below.
With no malice or mincing of words, I commend Shooter Jennings and/or his management for seeing that these VIP upgrades at grassroots festivals were unfair, unfeasible, and against the spirit of independent country and roots music. Though I still believe the price Shooter is asking for his VIP upgrade is egregious and unparalleled for an artist his size, and that the whole culture of VIP treatment has no place in independent roots music, the elimination of the option for festivals helps preserve the camaraderie and the independent spirit that makes these festivals so enjoyable for fans, and gives them a unique experience in music where all patrons are treated equal.
Jon Hensley’s statement:
Just to clarify…we are not offering any VIP ticket upgrades at any festival Shooter Jennings is playing this year or any year. There was a miscommunication between myself and the company that makes these VIP upgrades possible. But, they will ONLY be available for club and theater dates. To any son of a bitch that has a problem with us offering these upgrades you should talk to any of the fans that have actually purchased one. Ask them if they felt like their money was well spent. It is totally laughable that some stupid asshole hiding behind a computer thinks he has the right to tell Shooter’s fans how they should or should not spend their own hard earned money. This is a business and at the end of the day we all have to make smart business decisions to survive. Offering an optional concert ticket upgrade to loyal fans is not wrong or unheard of and no matter what anybody thinks about it we will continue to offer the upgrades until the world comes to an end. And, if any “blogger” has a problem with them they can address it face to face. All you have to do is purchase the ticket upgrade and see us at the meet and greet.
I have no problem meeting someone face to face and explaining my grievances with Shooter’s VIP package, but to act like not doing this initially is some sort of move of cowardice is pretty high school. Where is Jon Hensley at the moment? Is he within driving distance? I don;t have a problem meeting him, but maybe the matter is more practical to deal with through the miracle of internet. Also, nobody is hiding behind a screen. Last weekend I was out in public at Willie Nelson’s 4th of July Picnic for 12 straight hours. I’ve been at 4 of the last 5 Pickathon Festivals, the last 2 Muddy Roots Festivals, SXSW a dozen or so times, and live events on a regular basis. If someone wants to come and speak to me in person, I am very accessible, wherever I am. And I don;t say anything on this website that I wouldn’t say to anyone’s “face.”
You know how you may root for a hometown sports team for years even though they’re terrible, and then out of the blue when they start to get good you don’t know how to behave because you’ve identified with losing for so long? Well that is what is happening in 2013 with many of the artists Saving Country Music and so many loyal fans have been following for years. Acts that we got in a habit of using as evidence of how the industry was woefully neglecting legitimate talent are now finally starting to find success, reshaping our theories on music’s downward spiral.
There is still much to do, but in 2013 we can find signs hope in the success of these artists.
When Saving Country Music named Hellbound Glory’s Old Highs & New Lows its 2010 Album of the Year, we were hoping someday the Reno, NV-based band might find the bigger audience they deserved, but who knew that only a few years later they would be playing to sold out arenas as an opening act on a Kid Rock tour. Hellbound Glory’s road was winding, and with the strength of front man Leroy Virgil’s songs they could still grow from here, but 2013 is the year we will point back on as the time they finally got their boot in the door.
With all the talk of 2013 being the “Year of the Woman” in country music, Caitlin Rose’s name has been appearing right beside names like Ashley Monroe and Kacey Musgraves as evidence that country’s new crop of women are the ones restoring substance to the genre. Once thought of as the UK’s best kept independent country secret, Caitlin’s scope is now coast to coast here across the pond as the songs from her critic’s favorite The Stand-In speak to a wide audience with both accessibility and smarts. Working with the Dave Matthews-backed ATO Records, Caitlin’s voice is finally starting to find an audience, and with a voice like hers, the sky is the limit.
There is nobody in roots music who has worked harder, toured more, come so close to finally getting his break so many times, and deserves the sweet rewards of success more than Austin Lucas. Though Austin had received some fortunate breaks in the past touring on Chuck Ragan’s Revival Tour and the Country Throwdown Tour, a year ago after seeing Austin Lucas deliver an inspiring show at Austin, TX’s Mowhawk club, he confided in me he was concerned if his music would ever stick, and how he was growing older by the day. The very next show Austin played resulted in him eventually being signed to New West Records, who is scheduled to release his latest album Stay Reckless on August 27th. Austin Lucas is a positive example of why you never give up, and how the power of the song can still override the concerns of the traditionally shallow music industry.
If there is one artist symbolizing hope for real country music in 2013, it is Sturgill Simpson. Like all of these artists, he’s put the hard work in as well, but the biggest lesson to take away from Sturgill’s success is to never settle for second best, and to believe in yourself. By allowing his music and personality to remain more of an enigma than a known quantity, Sturgill was able to make sure he wasn’t boxed in to any scene or subtext so when the time was right he could present his music to the world on his terms. Working with Thirty Tigers, and having been out on tour with folks like Dwight Yoakam and Junior Brown, Strugill is building a formidable career in country music.
Valerie June received the mother of all opportunities in 2013 when she was asked to appear in front of a national audience as part of an intimate duet with Eric Church at this years ACM Awards. But that might just be the beginning for Valerie, whose highly-anticipated album Pushing Against A Stone set to be released on August 13th is already receiving buzz from big media outlets like Billboard and NPR. Like Ashley Monroe and Caitlin Rose, Valerie June is primed to join the class of inspiring up-and-coming country women taking shape in 2013.
It was November of 2008 at the annual Country Music Association Awards, and Kid Rock came out on stage to perform “All Summer Long,” a remixed rap rock song that borrows from Lynyrd Skynyrd and Warren Zevon. Never before had such a non-country genre-bending song been performed on the CMA stage, but considering Kid Rock’s strong ties to the country music industry, the performance seemed par for country’s course of slowly contemporizing away from its traditions….except for one curious thing.
Trailing Kid Rock out on the stage was hip-hop icon Lil’ Wayne. It was curious that Lil’ Wayne was there, but not completely surprising. Lil’ Wayne had performed “All Summer Long” with Kid Rock only 2 months before at MTV’s VMA Awards. But instead of rapping like he did at the VMA’s, Lil’ Wayne just sort of stood there, pretending to strum a guitar that clearly was not in the mix.
Why was Lil’ Wayne there? Nobody was quite sure, but at the time Saving Country Music surmised that this was an act of desensitization from Music Row in Nashville. Facing nearly a decade of declining sales and needing something to shake up the landscape, allowing rap to infiltrate country’s inner sanctum could be a way to grow country’s fan base, entice younger listeners, and maintain the commercial viability of the industry. The country music industry would have to warm the country fan base up to the idea first. So bring Kid Rock out, and Lil’ Wayne with him, but don’t allow anyone to rap just yet. There would be time for that down the road.
Just 2 weeks after the 2008 CMA’s, country rap king Colt Ford released his first major album Ride Through The Country, and soon small but well-supported independent country rap outfits like the LoCash Cowboys and Moonshine Bandits began to emerge, creating a substantial country rap underground that saw significant success in the YouTube realm, garnering 5 and 6 million hits on some videos despite having no initial label support, and no radio play. Country rap had already been around way before 2008, with Cowboy Troy releasing his debut album Loco Motive back in 2005, and many other independent artists dabbling with the genre blending concept years before. But Colt Ford began to open the door of acceptance for country rap in the mainstream by collaborating with country artists like Jamey Johnson, John Michael Montgomery, and Brantley Gilbert. Country rap songs were still not receiving radio play or award show accolades though. The country rap commodity was just too risque for mainstream labels and radio programmers to get behind, and it remained a very small sliver of the greater country music pie.
Then came Jason Aldean’s “Dirt Road Anthem,” a song that initially appeared on Colt Ford’s first album and co-written with Brantley Gilbert, and everything changed. A mild-mannered song compared to most country rap, and coming from a polished Caucasian performer that the mainstream country community was already comfortable with, country rap was able to finally find it’s acceptance on the popular country radio format. In early June of 2011 at the CMT Awards hosted by Kid Rock, Jason Aldean came out to perform the quickly-rising single, and hip-hop artist Ludacris joined Aldean on stage, this time to actually rap. “History has been made baby!” Ludacris declared from the stage, and it had been. Mainstream country now had its country rap cherry officially popped, and rap was now a viable, accepted art form in country music.
And it would become a commercially successful one too when “Dirt Road Anthem” eventually hit #1 on the Billboard charts in late July of 2011. The effects of “Dirt Road Anthem” hitting #1 were significant. Radio programmers who had been reluctant to bring country rap to the airwaves for years had officially waved the white flag. At the time Saving Country Music also predicted:
Just like how you can blame a blizzard on a rash of births nine moths later, the Music Row machine undoubtedly is being retooled to meet the burgeoning country rap demand, and we will be seeing the results in the upcoming months. The only question is, in what form will it be? Will we see established artists adopting the new style? Or will it be the popularization of the Colt Fords and Moonshine Bandits of the world?
The prediction of Music Row retooling to become a assembly line for country rap was correct. What was not correct was the timeline. Apparently 9 months lead time was a little too optimistic, and after “Dirt Road Anthem” dominated the charts, country rap went somewhat dormant in mainstream country for nearly 1 1/2 years. “Dirt Road Anthem” was the best selling single in all of country in 2011. But in 2012, country rap was virtually absent from the mainstream country scene. As Saving Country Music explained looking at 2012 end-of-year sales numbers:
Rap sales were significantly down in 2012, bucking the trend of being one of the few areas of strength during music’s decade-long decline. Similarly, unlike 2011 when Jason Aldean’s country-rap “Dirt Road Anthem” was the best-selling single in all of country, 2012 did not see 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.
Then came 2013, and “1994,” Jason Aldean’s follow-up country rap to “Dirt Road Anthem.” Though the song was a little too fey for mainstream country ears and topped out at #10 on the Billboard charts, it was the spearhead to what would become a massive and historic influx of country rap songs and influences flooding the country music format heading into the summer of 2013.
Blake Shelton, the reigning CMA Entertainer of the Year and influential personality from his work on the popular reality TV show The Voice, released his own country rap song “Boys ‘Round Here” that quickly became a #1. Country duo Florida Georgia Line who regularly incorporates Ebonic verbiage in their songs achieved a #1 single with “Cruise” that is currently poised to become the best selling song of 2013. When the duo remixed the smash hit with hip-hop star Nelly, it created yet another chart-topping country rap collaboration.
All of a sudden, hip-hop influences were, and currently are dominating the top of the country music charts, asserting just as much influence, if not more than indigenous country influences, with a bevy of new country rap tunes from numerous artists ready to be released, and mainstream artists lining up to try and be a part of the trend. Brad Paisley and LL Cool J made waves by collaborating on the country rap song “Accidental Racist.” 90′s country star Joe Diffie, the muse for Jason Aldean’s country rap “1994,” has released an “answer” song called “Girl Ridin’ Shotgun” with the Jawga Boyz to attempt to exploit the renewed attention for his career. And Luke Bryan has recorded a country rap song with Auto-Tune maestro T Pain to be released soon.
But the infiltration of country rap is not just confined to underground circles and mainstream collaborations, it has touched the very foundations of country’s traditions and history. In May of 2013, the rapping grandson-in-law of Waylon Jennings named “Struggle” released an album with 7 of the 9 songs being Waylon tunes with Struggle rapping over them. The country rapping LoCash Cowboys have a song called “Best Seat in the House” from their new self-titled album that includes a collaboration with the recently-deceased George Jones—an icon of traditional country fans who traditionally do not favor the influx of rap influences in country music. The country rap collaboration is possibly the final track George Jones ever recorded.
Other artists that are traditionally seen as respites from the commercial trends in Nashville like Miranda Lambert, Ashley Monroe, and their mutual band The Pistol Annies have participated in the country rap craze, leaving mainstream country fans that are looking to avoid the trend few options. The Pistol Annies appeared in Blake Shelton’s country rap song and video “Boys ‘Round Here,” and Miranda Lambert participated in the “celebrity remix” of the song, even though at one point she took to Twitter to proclaim that remixes “pissed her off.”
Ashley Monroe appears in a just released acoustic version of the Macklemore rap song “Thrift Shop.” June of 2013 has been jam packed with new country rap song and video releases, with new collaborations rumored seemingly every day as artists and labels scramble to figure out how to capitalize on the country rap phenomenon.
Which begs the next question, is this a craze that will show a predictable lightning-fast life span and quickly fizzle, or are we seeing the long-forecasted dramatic, wholesale, long-term change in the traditional genre formats of American music, where all genres coalesce into one big mono-genre where contrast and diversity between disparate art forms will be resolved, leaving no true regionalism and no cultural separation, just one homogeneous corporate American music culture?
That remains to be seen. But wherever country rap goes, we can say with confidence that the way country music sounds in the summer of 2013 is very similar to the way the mono-genre would sound like if it is realized in the long-term.
Potential Ramifications of Rap’s Infiltration of Country
The benefits of the emerging mono-genre can be the breakdown of musical prejudices across genre lines, but the main impetus is the broadening of markets of music consumers for record labels to take advantage of. Though traditional genres can be helpful to consumers by classifying the style of the music so they can choose if it is worth their time, genres limit the scale of potential consumers for a given music franchise.
The problem with the mono-genre, especially for country music is the potential loss of autonomy and control over the music by the genre, both sonically and through the genre’s infrastructure and institutions. During music’s lost decade of the 2000′s when the industry bobbled the move to digitization, country music weathered the storm much better than other genres because it had its own built-in institutions like the CMA and ACM Awards shows, and the Country Music Association itself which unites US radio broadcasters around the country format. And unlike hip-hop or rock and roll, country music is heavily steeped in tradition, with legacy institutions like The Grand Ole Opry acting as pillars for the music. But if the term “country” can’t define a well-recognized sound, it risks diminishing the effectiveness and viability of these country music institutions in the long term.
Since the beginning, country has taken a submissive role to hip-hop in the formation of the mono-genre. Though you may find some small exceptions, country influences have not encroached on the mainstream hip-hop format virtually at all, and certainly haven’t risen to the point of dominating the hip-hop charts, like hip-hop influences are now dominating the country charts. Helping this trend along is Billboard’s new chart rules that take into consideration sales and plays of music from other genres in rating country artists. So country artists whose songs cross over to the pop or hip-hop formats gain extra points compared to their pure country counterparts.
Hip-hop is in the cat bird’s seat in the mixing of the two genres. Artists like Ludacris, Nelly, and Lil’ Wayne can benefit from the exposure the country format gives them, but hip-hop doesn’t have to return the favor. The reason there are no country-influenced songs at the top of the hip-hop chart is because the hip-hop community would not allow it.
Hip-hop as a genre is secure and confident in its standing with young demographics, and in its future, while country seems to be constantly wanting to apologize for itself and find new ways to attract younger listeners. Hip-hop artists are just sitting back, waiting for the managers of mainstream country artist to call looking for collaborations, and all of a sudden the hip-hop artists’ name and music are exposed to an entirely new crowd.
Some mainstream country artists like Tim McGraw and Taylor Swift have participated in hip-hop collaborations not featured in the country format, but the collaborations are almost always done on hip-hop’s terms, with the purpose of exposing hip-hop artists to a wider audience primarily, instead of vice versa.
The debate about the encroachment of rap and other hip-hop influences into country is much broader than disagreements based on taste. To maintain the autonomy and integrity of country music’s institutions, the genre music keep in check influences from other mediums. The argument regularly made for allowing hip-hop influences to infiltrate the format is that country music needs something new to continue to grow and appeal to new audiences and younger people. What this argument fails to recognize is that rap in itself is an over 30-year-old art form, and that it has a dubious history when mixing with other genres at the mainstream level.
When rap mixed with mainstream rock in the mid 90′s with acts like Limp Bizkit and Linkin Park, it was seen as the beginning of the mainstream rock format losing its identity, and the diminishing of rock music’s control over its radio format and institutions. This gave rise to “indie” rock, and punk and metal undergrounds that purposely avoided mainstream rock avenues and robbed talent from the mainstream ranks. Soon rock ceased to be the catch-all term for guitar-based American music, and country and hip-hop emerged as the more dominant and influential genres. Eventually rock artists like Darius Rucker, Sheryl Crow, Aaron Lewis of Staind, Kid Rock, and many more had to solicit country for support in the aftermath of mainstream rock’s implosion.
It is unfair to completely hypothesize what will happen with the mixing of country and hip-hop by what happened in the past because of the tremendous flux the music industry is experiencing due to the ever-evolving technology quotient. Everything an educated guess at best these days in music. But what we do know is that we will discover what the effects of the mono-genre will be because it is unquestionably upon us. The next question is, will it stick around, or will the mono-genre break back down into its traditional genres in the future? How country music as an institution will endure the changes remains to be seen, but country would be wise to keep open a debate on influence, tradition, and autonomy, with a very long-term perspective always in mind. Because if not, country artists could be finding themselves searching for another genre for support, just as rock artists did in the aftermath of hip-hop infiltrating its genre.
Pop rocker Sheryl Crow has been spending her 2013 getting poised for a move to country music, taking a nationwide bus tour of country radio stations and showing up at country events ahead of the release of her “country influenced” album Feels Like Home on September 10th.
A move to country is common for aging rockers as their careers begin to diminish. Country music is perceived as a genre that can offer strength and support to artists as they age. But trying to bolster a career in decline apparently is not the only motive behind Sheryl’s country move.
Sources close to the Sheryl Crow camp have confided in Saving Country Music that part of Sheryl’s country move is politically motivated. Sheryl is a staunch environmentalist, and has championed specific issues over the years, most notably in 2007 when she advocated the use of only one square of toilet paper during restroom visits to conserve trees and increase global oxygen levels, saying:
I propose a limitation be put on how many squares of toilet paper can be used in any one sitting. Now, I don’t want to rob any law-abiding American of his or her God-given rights, but I think we are an industrious enough people that we can make it work with only one square per restroom visit, except, of course, on those pesky occasions where 2 to 3 could be required.
Crow later clarified her statements, saying they were somewhat of a joke, but according to our Sheryl Crow source, she still takes the toilet paper issue very seriously, and plans to use her move to country music as a Trojan Horse to unleash her opinions about toilet paper conservation on what she believes to be one of the biggest consumers of Angel Soft and Charmin in the US: country music fans.
“The country music demographic consumes about 8 million squares of toilet paper a day,” the Sheryl Crow source explained. “That’s 22% more than hip hop fans, and 18% more than rock fans. Sheryl feels if she can reduce the amount of toilet paper used by country consumers, it would make a difference of about 1 1/2-degrees in temperature of the oceanic sea levels.”
And just how exactly is Sheryl Crow expecting country fans to listen to her one square mantra? “In a country single,” the Sheryl Crow source says. “And this will not be some small PSA. This song was put together by top notch Music Row songwriters to be a big hit, and is being produced by T Bone Burnett.”
That’s right, once Sheryl Crow has established herself in country music, she’s planning to release a single, purportedly a duet with Julia Louis-Dreyfus, aka “Elaine” from the 90′s sitcom Seinfeld, called “Can You Spare a Square?”
Not to be outdone, apparently Hank Williams Jr. has caught wind of Sheryl Crow’s plan, and plans a counter-single called “Wipe You Ass With A Spotted Owl.”
Ironically, both Sheryl Crow and Hank Jr. have previously released songs with Kid Rock, who completely swore off cleaning himself after bowel movements in 2003. Some people are already dubbing the impending conflict the “Great Toilet Paper War of 2013.”
It’s about to get nasty out there folks. Real nasty.
(Elaine Benis could not be reached for comment.)
Reno, Nevada’s Hellbound Glory has just come off two legs of arena shows opening for Kid Rock on his nationwide Rebel Soul tour, and are recovering now to get ready for their own tour in early summer. “Just signed on with Agency Group to book us and our agent is a big supporter and a legitimate badass so it’ll be rad to have them in our corner for future tours,” front man Leroy Virgil tells Saving Country Music. “Look for us in June all around the country.”
The Kid Rock tour was a big success for the band according to Leroy. “We gained a lot of fans throughout the tour who we can’t wait to see them when we come through with our show next time and made a lot of friends. Also I learned a shit load of things from Kid Rock and his crew and it was awesome to be treated so well after years of slugging it out in clubs. Everyone from the sound techs, the promoters, to Kid Rock and his band treated us like what we we’re doing was worth something which hasn’t always been the case in some of the places we’ve played over the years. All I know is I’m happy to take every opportunity I have to promote my songs and to eat their food and drink their booze, etc. etc. I think its been a more than even trade and we appreciate the help.”
While in the midst of the Kid Rock tour, Hellbound Glory released a new song called “The Feud.”
“I wrote the Feud a few days after seeing Bob Wayne play in Folsom CA with .357 [String Band] backing him,” Leroy explains. “…I wrote it about some relatives and other people I know who work in the medicinal industry. On a two week break from the Rebel Soul tour when we were offered some recording time in a big studio so I figured I’d embrace my Northwest roots and make a big-sounding grunge country song. I wasn’t sure I’d ever get the chance to work with such hi tech equipment again so I used it for everything it was worth. Anything else would have seemed contrived to me and I think we did a great job of getting that modern country sound on a song about farmers, violence, and weed.”
“To me it turned out more country than country. However, for anyone who prefers a stripped down version I’ve made available thru SCM the first recording we did a few years back as a two piece called the Excavators with just guitar, lap steel, bass drum, voice, and harmonica.”
Whenever the name Hellbound Glory is mentioned, the next question is when fans may get to hear some new music.
“Going to be doing as much recording as time and money will allow.” Leroy says. “Whether it be with Shooter, with our buddies Mike Lattanzi and Tommy Byrnnes (who did the Feud) or by myself if I can learn the technology. Can’t wait to hit everyone with our next single, not sure what it’ll be yet but if anyone has any suggestions we’d like to hear em….. Although I do have a batch of new songs I think will knock people’s socks off that I’m chomping at the bit to record as well. Gonna try to keep the bender broadcasts coming as well. Got about 5 of them up right now on iTunes and a bunch of acoustic stuff in the can we’ll put out once its put together. Just need to get Rico (Hellbound’s slide player) to get some more skits going one of these days. And if anyone has request, get them to us and we’d be happy to give ‘em a shot.”
“Thanks to everyone for the support. It takes support from a whole lot of people to get a band like us even this far in this day and age and we appreciate every single one of you skumbags and hags out there.”
Just Released: Hellbound Glory plays Hank’s “Lovesick Blues”
Fans of Reno, Nevada’s Hellbound Glory who’ve been waiting patiently for new music since the release of their critically-acclaimed album Damaged Goods in November of 2011 can tide themselves over on a brand new single just released called “The Feud.” A fiery, raucous account of the rigors of rural living, the song features a more rock vibe compared to most Hellbound Glory material, and raw, gunpowder-stained lyrics. Devout listeners of Hellbound’s frontman Leroy Virgil will recognize the song as one he’s been playing live for years, but will rejoice in finally having a studio version to listen to.
As a songwriter, Leroy Virgil is one of the best-kept secrets in country music, but may not be for long as Hellbound Glory traverses the country in a supporting role playing arena shows with Kid Rock. As Leroy told Saving Country Music in an interview right before the tour, “You know, I’m a really stubborn person, and I’m not gonna change any way I don’t want to change. In fact I think over the last couple of years I’m even more hardcore than I’ve ever been. And the new material is going to show that…”
I don’t think it is a stretch to say that Leroy Virgil of Hellbound Glory, and specifically his vast collection of remarkable country songs, is one of the most overlooked and untapped resources in country music. Music Row should be pilfering his song library, and yet the man sits here without even a serious publishing deal. Leroy Virgil is country music’s best kept secret, but the cat may soon be out of the bag as none other than Kid Rock has tapped Hellbound Glory as the opener on the first two legs of his 29-date arena tour.
With Kid Rock’s place as a polarizing figure to some of the same country fans that Hellbound Glory appeals to, the association has drawn some ire. At the same time, it’s hard to not credit Kid Rock for doing something that no other major music artist or entity has done up to this point: recognize Leory’s immeasurable talent and give it a greater outlet.
As Leroy Virgil does a circuit of small town gigs in Idaho to prepare for the big tour, I talked to him about the opportunity, about the concerns of some fans about the Kid Rock affiliation and their worries the opportunity is too much too fast, and about where Leroy and Hellbound Glory go from here.
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Trigger: In my review of Hellbound Glory’s last album Damaged Goods I said, “It’s time for someone to step up. It’s time for Hellbound Glory to graduate, for someone a step higher to step up and put these boys as the opener on a serious tour.” And when I said that, I didn’t have any names in my back pocket of who that would be. But Kid Rock was the guy that ended up stepping up, seeing the potential and talent and putting y’all on his tour. How did that come about?
Leroy Virgil: It’s kind of a funny story. When I first became aware that Chico (former drummer) was going to leave the band, I started doing this bass drum thing. And I started by going every Wednesday and Thursday night to a bar and play there for 4 hours. Rico (slide guitar player) would go down there as well. It’s a bar called Davidson’s in Reno, where we took the picture for the back cover of Scumbag Country. It was a biker bar, and they would play a lot of Kid Rock on the juke box. Me and Rico listened to it so much we were just like, “Yeah, someday we’re gonna tour with Kid Rock.” We never really expected it to happen, and then 6 or 7 months later we get a call, and it was an offer for that cruise ship thing (Kid Rock’s Chillin’ The Most Cruise), and of course we took it. I think Kid Rock may have had access to our music through our manager. I don’t know if it was his decision, but we got the call and there was no way we could turn that down.
Trigger: So you played the Kid Rock Cruise almost a year ago. How did that evolve to this tour? I mean this is a big tour–two months. You’re playing a lot of dates here.
Leroy Virgil: It’s 29 dates over the course of two months. And it’s the first two legs. I’ve got my fingers crossed that we will be invited to the 3rd and 4th leg. When we we’re on the cruise, we got a chance to hang out with him, my wife and I, partied with him some, had a good time. We all just hit it off, so that may have something to do with how we got on this tour.
Trigger: What do you have to say to folks who say, “I don’t want to see Hellbound Glory in a big arena. I don’t want to have to pay for an expensive ticket.” Will those folks still get a chance to see Hellbound Glory in a smaller, cheaper setting in the future?
Leroy Virgil: As far as the whole expensive ticket thing, I can understand. The economy is rough. I couldn’t afford to go to the show if I wasn’t playing at it. But if they’re fans of Hellbound Glory, the shows are going to be great. I’ve got a couple of new guys, a great drummer and bass player. NASCAR Nick came back, he’s on Old Highs & New Lows. So it’s gonna be loud, and it’s gonna be rocking. We’ve got a wild set going. I think it’s going to blow some people’s minds to be honest with you. I can’t wait for people to hear it. But as far as playing smaller show, I don’t think I’ll ever get sick of playing in small, intimate places. I enjoy playing small places, and four, five hour sets of my songs and country classics, drink whiskey on stage and bullshit with the crowd. It’s really becoming a thing where I’d like to play arenas and big places whenever I want, but I definitely don’t want to lose the grass roots, underground following that we have. I hope our fans and people that know our music come up to us and we get a chance to hang out. We don’t want to be isolated. That’s not where good songs come from.
Trigger: Along those same lines, do you think this tour will change Hellbound Glory? And if so, how?
Leroy Virgil: You know, I’m a really stubborn person, and I’m not gonna change any way I don’t want to change. In fact I think over the last couple of years I’m even more hardcore than I’ve ever been. And the new material is going to show that too. If anyone has any reservations about Hellbound Glory being on the road with Kid Rock or being mainstream or whatever, I just want the music to speak for itself. Just listen to the music and if you don’t like it, alright, then you don’t like it. But don’t write anything off just because of anything we’re doing. I’m not changing. I’m still the same person I’ve always been.
Trigger: So you’ll be standing up now, and playing acoustic, or electric, or a little of both?
Leroy Virgil: Yeah I just got this little Harmony guitar that I got from a friend. It’s a 1950′s Harmony arch top acoustic electric. It’s pretty old school. So yeah, I’ll be standing up. I’m trying to get back into that whole mojo of standing up, being a little big more of a front man just because I spent the last 2 1/2 years sitting on that bass drum. It’s exciting. A whole new venture, because I think we had gotten stale. Not with the lineup, just with the setup we had. And you know, I’ll probably continue changing. Who knows what I’ll be doing next year. I’ve got to do something to keep everything fresh. Wait till you hear the new material. You may hate it, you may dig it. No matter what, it’s country. Even if I was playing heavy metal, it’s still country. It’s where I come from. The whole Nashville thing would have never worked out for me anyway. Can you imagine Hellbound Glory, I don’t know, rubbing elbows with Jason Aldean? It’s two completely different worlds. So I’m just kind of eeking out my own thing. I feel like I part of a lot of the scenes, but at the same time I’m on the outside of it too. I think I’m in a pretty good place. I couldn’t be happier than where I am right now.
Trigger: You mentioned new material. I know that you’ve done some recording on this project you’ve called ‘Merica. When can people expect new music from you, or is that in the offing?
Leroy Virgil: I’ve done some work with Shooter (Jennings) but we really haven’t had the time to get everything to where it’s really moving yet. I mean, I don’t want to scrap these songs, I’ve spent a lot of time working on them. But I’m continuing to write new ones. And now I’m kinda sick of those ones so I want to do something new.
Trigger: So you’ve got a glut of material?
Leroy Virgil: I just want to have a microphone going all the time. Record old Hank Williams songs, old Lefty Frizzell songs and just give them away.
Reno, Nevada’s Hellbound Glory with be touring with Kid Rock on his “Rebel Soul” tour to transpire at the very start of 2013, trekking through the Midwest and South. Buckcherry will also be playing in a supporting role. From press release:
Kid Rock is proud to announce the first dates of his “Rebel Soul” worldwide tour in support of his recently released album bearing the same name. The tour kicks off February 2nd at the Sprint Center in Kansas City, MO with the first leg winding down March 2nd in Louisville, KY. More dates are expected to be announced shortly. Backed as always by his Twisted Brown Trucker band, the full-scale arena tour will feature Buckcherry and Hellbound Glory as support.
Leroy Virgil, the frontman of Hellbound Glory is one of country music’s best kept secrets in regards to songwriting. The band first rubbed elbows with Kid Rock on his “Chillin The Most” cruise down in Florida last March.
Feb 2 Kansas City, MO – Sprint Center, On Sale 12/14 @10am http://www.axs.com/
Feb 5 Springfield, MO – JQH Arena, On Sale 12/14 @10am http://bit.ly/SoJhlr
Feb 7 Beaumont, TX – Ford Park Event Center, On Sale 12/7 @10am http://bit.ly/4xGq0V
Feb 9 Tulsa, OK – BOK Center, On Sale 11/30 @ 10am http://bit.ly/LScMF
Feb 10 Wichita, KS – INTRUST Bank Arena, On Sale 12/7 @10am http://bit.ly/40v9cG
Feb 13 Bossier City, LA – CenturyLink Center, On Sale 12/7 @10am http://bit.ly/4xGq0V
Feb 15 Nashville, TN – Bridgestone Arena, On Sale 12/21 @10am http://bit.ly/4xGq0V
Feb 16 Greenville, SC – Bi-Lo Center, On Sale 12/7 @10am http://bit.ly/4xGq0V
Feb 18 Fort Myers, FL – Germain Arena, On Sale TBD
Feb 20 Pensacola, FL – Pensacola Civic Center, On Sale 12/14 @10am http://bit.ly/4xGq0V
Feb 21 New Orleans, LA – New Orleans Arena, On Sale 12/8 @10am http://bit.ly/4xGq0V
Feb 23 Birmingham, AL – BJCC Arena, On Sale 12/7 @10am http://bit.ly/4xGq0V
Feb 24 Huntsville, AL – Von Braun Center, On Sale 12/7 @10am http://bit.ly/4xGq0V
Feb 26 Greensboro, NC – Greensboro Coliseum Complex, On Sale 12/15 @10am http://bit.ly/4xGq0V
Feb 27 Knoxville, TN – Knoxville Civic Auditorium, On Sale 12/7 @10am http://bit.ly/147jQp
Mar 1 Memphis, TN – FedEx Forum, On Sale 12/8 @10am http://bit.ly/4xGq0V
Mar 2 Louisville, KY – KFC Yum! Center, On Sale 12/21 @10am http://bit.ly/4xGq0V
UPDATE: More Dates Just Added
March 18 – Sioux Falls, SD – Sioux Falls Arena
March 20 – Madison, WI – Memorial Coliseum at Alliant Energy Center
March 22 – Toledo, OH – Huntington Center
March 23 – Columbus, OH – Nationwide Aren
March 25 – Youngstown, OH – Covelli Center
March 26 – Ft. Wayne, IN – Allen County War Memorial Coliseum
March 28 – Bloomington, IL – US Cellular Coliseum
March 29 – Omaha, NE – Centurylink Center
April 1 – Evansville, IN – Ford Center
April 3 – Grand Rapids, MI – Van Andel Arena
April 5 – Saginaw, MI – Dow Event Center
April 6 – Saginaw, MI – Dow Event Center
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As for my personal thoughts? I think there’s no mistaking I haven’t been a fan of Kid Rock over the years, coining the nickname for him of “The Wet Cigarette”. However, Hellbound Glory may be the most under-the-rader band in country music right now, and they deserve this opportunity and exposure. I think it is times like these that the term “bittersweet” is in order. Ask me in a couple of days how I feel about it, but at the moment I can’t help but to be happy for Hellbound Glory for the opportunity, and however much I may dislike Kid Rock, giving him credit for seeing the potential of Leroy Virgil.
As I said over a year ago in my review of their last album Damaged Goods:
It is time for someone to step up. They don’t deserve the SCM Album of the Year, they deserve something better, something more than I can give. It is time for them to graduate, for someone a step higher to step up, put these boys as the opener on a serious tour, get them out of having to battle with a juke box full of rap music at brokedown bars, but also someone who understands their element, and how a loss of authenticity would be their demise.
Apparently, Kid Rock was the one to do that.
If I had to describe this album in one sentence it would be, “Bocephus walks into a studio, cuts on a mic, and begins to blow hard.” Old School, New Rules is a self-important, self-promoting, self-gratifying opus of an American doofus offering no real depth, wisdom, originality, or creative engagement. It is the Shock n’ Y’all of 2012; a political album that relies on the same old tired Hank Jr. modes, and marks a moment of egotistical grandstanding future generations will look back on with embarrassment.
The problem is Bocephus has bought into his own ethos even more than some of his hardcore fans. He truly believes he’s a mad genius with an arsenal of witty one-liners ready to let fly at any moment when in truth he’s in the throes of an egotistical mind fog. I love how the man wants to preach about how we should all live and how the government should run, yet he’s had how many divorces? Jr’s been a part of how many public embarrassments? Been to rehab how many times? And is currently estranged from his son and name sake? Same can be said for Steve Earle and other artists who like to lecture us on the liberal side of things. How about before you preach about the way things ought to be you get your own house in even some minor semblance of order?
This album isn’t just bad, it’s downright painful to listen to in places. Bocephus has adopted this singing style over the years where he sings the first half of a phrase, and then talks the second half for emphasis with these wild up-and-down inflections that are caustic to the ear. Listen:
This album was dated before it even came out. You can hear Jr’s voice grinning as he’s makes points that he thinks are genius when in reality they fall flat, or are cliche, or in some instances, don’t even make sense. Saying “keep the change” in reference to Obama was tired 2 1/2 years ago, but Bocephus calls upon it multiple times in this album. Old School, New Rules creates its own set of cliches by the end, relying the same dumb lines and points over and over.
There’s also this alarming lack of congruency or flow in some songs like the opening track “Takin’ Back The Country,” which goes from his Fox & Friends debacle, to sampling two different Hank Williams songs, a horn section, Obama and EPA bashing, Facebook & Twitter all in a sonic structure that is horrifically Hank Jr. cliche. Good gosh man, just tell a story and try to relate it to some folks. At the end of this song, you feel like your brain was in a blender.
His flag-waving formula song “We Don’t Apologize For America” has the same problem. It starts off as one song and subject, and then becomes another. So does “Cow Turd Blues” where Jr. takes an okay song and ruins it by adding a completely embarrassing self-gratifying diatribe about himself in reference to his ESPN/FOX debacle, about how “There’s some things in this country you don’t mess with. And I am blessed to be on that short list.”
Who the hell says this about themselves?
The song “That Ain’t Good” is sold as some deep-minded treatise on modern-day American struggles when no single line really sells itself. “Old School” might be the most palatable take on the album, but broken down is just a vehicle for Bocephus to brag. Out of all of the songs, “Three Day Trip” is the absolute worst. Take the horrifically over-worn formula of the Kenny Chesney island song, add some humor as flat as a 3-week-old 3-liter of Pepsi, call a woman a “bitch”, and this song should be offensive to just about any and all real country fans.
Did Hank Jr. forget his old routine with Kid Rock where Jr. says in country music, “We don’t say ‘bitch’ we say ‘ma’am’”?
A lot of folks are going “Wow, I just heard “I’m Gonna Get Drunk And Listen To Hank Williams” on the radio, what a great song!” when this is the same song formula as “Whiskey Bent & Hell Bound”, and the same song Jr’s put on every single one of his albums since the history of ever. Take drinking and combine it with Hank song titles and walla, you’ve got a spot filled on the Hank Jr. track list.
Two cover songs, Hank Sr.’s “You Win Again” and Merle Haggard’s “I Think I’ll Just Stay Here And Drink” offer a little respite from the rest of the album, but are excellent examples of when cover songs are unnecessary and really offer no new value to an existing composition.
I understand why people find appeal in Hank Jr. and in this album. It is because they identify with him and his message. I get that, I really do, but in no way is this album helpful to your cause or anyone elses. Instead it speaks to the very cause of the divisiveness in this country. In one breath, Bocephus is talking about how he refuses to give up his big V8, and then in another says he can’t explain why terrorists blow themselves up. Did he ever stop to think that the two might be interconnected? Instead he takes pride in his ignorance saying, “I don’t know.”
And I understand this is supposed to be a “fun” album, but with the massive politicization of the material, it is hard to have fun unless you agree with every word he says. And in fairness to Hank, he’s always put out these types of songs about being an old school, simple man who has difficulty relating to the modern world, almost to the point of making fun of himself. But for every “Dinosaur” song he’s released over the years, he’s released an “All in Alabama.” There used to be depth and balance, with one or two of the funny, opinionated songs per album. Now that’s most of what you get. Hank Jr has become a series of bits and cliches; a bad impersonation of a stereotype of himself.
These political albums rarely work, either for swaying public opinion, or as a piece of art. Neil Young’s Living With War or virtually anything from Todd Snider are also great liberal examples of this, but at least the points in these albums are lucid, and the material is original. It feels like Hank Jr. rushed this album out to profiteer off the election cycle, hindering some of his ideas that with a little more time and thought, could have come across with much more wit.
Hank Jr. got the wrong impression that bawdy political rancor is a positive way to create attention for yourself when the negative publicity from his Fox & Friends interview shined a spotlight on him.
Look, I still consider myself a Hank Jr. fan, and I will fight anyone who says his career back in the late 70′s, early 80′s wasn’t filled with some great songs. But this is a completely wrong direction to start off his post-Curb Records career. I’m not going to choose sides about whose at fault for the political state of America, but what I can say is that neither Obama, Bush, Romney, Hank Jr., Bruce Springsteen, or anyone else has more effect on your life or your state of affairs than you do. Talking down to the other side, which Jr. does with alarming ease on this album (“two and is four, do you get it?”) speaks to the mentality that if someone disagrees with you, they’re inherently stupid. This is exactly why the United States is wickedly polarized and in the midst of one of its biggest political stalemates in history: a fundamental lack of respect and simple-minded reactionary attitudes.
How about speaking to everyone? How about using subtly to talk about political struggles? How about trying to find common ground and understanding? How about simply telling a story that relates to the universal human condition and makes you feel something? Hank Jr. didn’t take one moment out of his political grandstanding and re-hashing of classics and cliches to do this. He should be better than this, and we all should be better than supporting it. This is beyond music. This isn’t Republican vs. Democrat, this is reactionary polarization against rationalization.
And I know what side I want to be on.
Two guns down!
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As frequent readers of Saving Country Music will attest, over the years we’ve christened fun little nicknames for some our favorite pals of pop country. If you ever wondered where these names came from and why, here’s the explanation behind some of our favorite terms of antipathy.
Tim McGraw and his plastic hat were the first to cross a big line with cross marketing in country music, beginning with his signature line of poof poof, and stretching all the way to Ken dolls (with a matching Barbie for his celeb wife Faith Hill) and now a new line of headphones of all things. Look out Dr. Dre! McGraw is unafraid to show his metrosexual side, and has blazed trails for both the marketing of a country music name, and the threshold of effiminacy the country music public is willing to put up with from their male stars. Yes, Tim McGraw: the trailblazer that gives a new meaning to toilet water, and the purveyor of country music’s version of yacht rock.
He’s the godfather of country rap who stole both Hank Jr. and Sheryl Crow’s dignity, and apparently is also responsible for convincing Arron Lewis of Staind to get into country music. We’d call him the king of trash, but he would take that as a term of endearment, so hopefully this nickname conveys the scuzzy, soiled fedora, eyelids at half-mast, twice-baked, incest-with-a-second-cousin-next-to-a-muddy-lake, greesy-haired burnout that Kid Rock is. Just like a wet cigarette, he is both tacky and disappointing.
Affliction and Tap Out T-shirts, $180 designer jeans with manufactured rips and Gothic crosses embroidered on the ass pockets, offensive amounts of Axe body spray quaffed over glistening and exquisitely-tanned and waxed bare chests contoured by only the best metabolic steroids money can buy, this is the Brantley Gilbert target demographic. Pull your baseball cap down tight over your eyes, wear your shirt two sizes too small, act too cool to complete your sentences, and buy a penis pump under an assumed name and you too can be a country music douche just like Brantley Gilbert. He is the Nickelback of country music.
Oh how beautiful the irony is that the man with the big tough domestic truck endorsement plays guitars painted with the Ford logos and American flags that are in fact made in Korea. According to my buddy at the Seoul food restaurant down the street, “Takamine” is Korean for “big fat American sellout.” Who is the country star with the highest income in all the genre? Not Taylor Swift, not Lady Antebellum or Rascal Flatts. No, it’s Toby Keith, primarily from his Ford Truck endorsement. It’s a good thing those Ford Trucks have best-in-class payload to haul all that money to Toby Keith’s house, and the tons of pride and dignity they get from Toby in return.
As the former DreamWorks executive turned founder and CEO of Big Machine Records (originally started with The Ford Truck Man Toby Keith), he’s the primary person responsible for the success of Taylor Swift and Justin Moore, the two most responsible parties for the erosion of the terms “country” and “Outlaw” respectively. Sure, country has always had pop in its ranks, but Taylor is where it became acceptable to use country terms and outlets for music that was pop and pop only, and opened the door for acts like Lady Antebellum and Lionel Richie. Same goes for Justin Moore and his Outlaws Like Me album (possibly the worst album ever) that jumped the shark for the “Outlaw” term.
Ironically, Borchetta and Big Machine are one of the few labels that actually extend a measure of creative freedom to their artists and have become one of the most successful label models on Music Row. But make no mistake, Scott Borchetta is where country music lost control of the purity of its terms.
Colt Ford – The Country Music Grimmace
Preying on the low self esteem and pandering to the least common denominator, Colt Ford has made a million dollars while admittedly having no skill, no talent, and not even taking himself or his music seriously. Appealing to like-minded souls who possess his same specific lack of skills and overweight body type, he peddles the most gratuitous version of filth to disenfranchised cultural frontrunners in America’s rural areas. No vertical stripes can save him, his morbidly-obese, pear-shaped body is proof that country rap is a cause of obesity.
Correct me if I’m wrong, but I don’t remember Hank Williams ever recording any drunken sea shantys. I can’t remember any Ol’ Hank songs featuring trumpets, or classically-styled lilting mandolin parts either. And I guess the Hank song that is built around incongruent, sloppily-overdubbed harmonies is on that $70 Hank Time-Life box set I could never get the scratch together to buy. I also don’t remember any Hank Williams songs sucking ass, but somehow, Sheryl Crow has figured out how to pull all these disparate qualities together to make the musical equivalent of a rusty knife abortion in an open field behind a filling station.
I admit, it may be a little unfair to pick on arguably the worst song on this Lost Notebook of Hank Williams project, certainly it all gets better from here, but at the same time, taking into consideration the sensitivity and importance of the project material, it is only as strong as it’s weakest link. And Sheryl Crow’s rendition, or version, or co-write, or whatever you want to call it of Hank Sr.’s unfinished song “Angel Mine” is the realization of all the fears the critics of this project had. And now, every time someone wants to go and hear the original of this song, they’ll pull up this overproduced, droning mess.
The liner notes for the Lost Notebooks say that the artists were…
…chosen for their songwriting and arranging abilities and their affinity for delivering songs reminiscent of Hank’s earthy directness.
What they should have said was…
…chosen for their songwriting and arranging abilities and their affinity for delivering songs reminiscent of Hank’s earthy directness… and Sheryl Crow.
Seriously, what a lazy, default pick. It’s not that every time a group of artist is put together in a project, Sheryl Crow is involved, it’s that EVERY FRIKKIN TIME A GROUP OF ARTISTS IS PUT TOGETHER SHERYL CROW IS INVOLVED!!! I mean what makes her so special, that she’s a pop star that can actually spell her name and stay out of rehab?
I know, I know, she’s had her moments. I remember one time seeing her on The Grammy’s or something in the early oughts and she was playing bass and I thought, “Wow, Sheryl Crow is a real musician!” But that is addition by subtraction. Most of our pop stars are so awful and talentless, when one can actually demonstrate average competency, we act impressed. Sorry, but touring with Kid Rock and banging Lance Armstrong are not formidable enough resume points in my book to earn the right to be on this project.
Look, it’s not that Sheryl Crow is terrible, it’s just that she doesn’t belong on this project, and $$ I $ can $$ only $$ think $$ of $$ one $$ reason $$ she $$ was $$ asked.
The Lost Notebooks of Hank Williams is getting very mixed reviews from customers. Sony ATV would probably like to characterize the opposition to this as isolated amongst scumbag Hank3 fans. I think there are plenty of questions about this project before you get to the one that asks why Hank3 was not involved, but hearing this song drives home the point that they probably could have found more competent folks to handle the task, if it should have been tackled at all.
I would love to review the whole album, but until we’re given an explanation about what happened in the 4 years these songs were sitting on a shelf, where Willie Nelson’s song went, why we were lied to about the timing, and many other concerns, my recommendation will continue to be to ignore this project. And if you need another reason to ignore it . . .
- Karl on Circumstances of Wayne Mills’ Death Leave Many Questions
- Will on Circumstances of Wayne Mills’ Death Leave Many Questions
- That Guy on Wayne Mills of the Wayne Mills Band Shot Fatally in Nashville
- That Guy on Wayne Mills of the Wayne Mills Band Shot Fatally in Nashville
- Michael Burkhalter, San Diego on Destroying The Dixie Chicks – Ten Years After