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Kellie Pickler’s 2012 album 100 Proof was like its own little country music revolution. Emanating from the unholy bowels of Sony Music Nashville, the album demonstrated Kellie snatching back creative control from the jaws of corporate music America to make the kind of record she wanted. The result was a critically-acclaimed, traditional, yet boldly forward and assertive offering that eventually landed on the tip of many music writer’s pens as the project that stood above all others in country music in 2012.
This also set the table for Kellie Pickler’s 2013 offering The Woman I Am to be one of the most anticipated releases this year. After Sony fumbled every opportunity to make 100 Proof the blockbuster it could have been in a gross example of boardroom malfeasance fit for a theme from ABC’s drama Nashville, Kellie and Sony Nashville separated, and she saddled up with the much smaller, but certainly capable and established Black River Entertainment for this new effort, far away from the trappings of her famous American Idol past, and much closer in inspiration and approach to the Outlaw legacy of country music than anyone could have ever anticipated from an American Idol alum.
Kellie, willing to focus less on the commercial flop of 100 Proof and more on its critical success, kept much of the same personnel and approach in place for The Woman I Am, including the same producer Frank Liddell. Similar to 100 Proof, The Woman I Am at times speaks very deeply from Pickler’s personal narrative. The opening track “A Little Bit Gypsy” starts the album out very strong, and similar to many of the songs on 100 Proof, it stays out of the well-worn ruts of easily-anticipated chord changes, instilling spice in the music and engaging the listener.
But as your tingling spider sense may have been telling you as you read the previous paragraph, there is a “but.” And the “but” is that a decent amount of the songwriting on The Woman I Am just doesn’t hold up to the standards Kellie Pickler set on her last record.
To start off, despite what the title of the album might infer, Kellie Pickler’s songwriting voice is somewhat buried on this project. Compared to 100 Proof where Kellie wrote or co-wrote 6 of the songs, including some of the album’s standout tracks, Kellie only has 3 co-writes on this one. What we get instead is a heavy dose of her husband, songwriter Kyle Jacobs. Overall the songwriting on The Woman I Am takes more of a professional, Nashville approach, instead of the personal one of the previous album, leaving behind that unique, signature, unpredictable flavor that made Kellie Pickler and 100 Proof such a high watermark.
Though it is the men of mainstream country music that receive the brunt of the criticism for using the same lyrical themes over and over, the women aren’t completely innocent from following songwriting formulas and falling back on crutch phrases. These revenge and “girl gone crazy” songs perpetuated by artists like Miranda Lambert, The Pistol Annies, and even Carrie Underwood where the heroine is getting back at the bad boyfriend by kicking ass and lighting stuff of fire may not be as tired as the tailgate songs, but we’re starting to get close. The Woman I Am has a couple of these songs, including the Chris Stapleton-written second track, surely slated for a single called “Ring For Sale,” and the three snaps in a ‘Z’ formation aspect of “No Cure For Crazy.” These songs are simply meant to convey attitude, and give female listeners the same dose of escapism a hellraisin’ mud song does for their male counterparts.
The Woman I Am just seems safe, like in the predictability of the songs “Closer To Nowhere” and “Bonnie and Clyde,” and though this may translate into commercial acceptance, it leaves the distinguished country music listener a little wanting. With 100 Proof the production was an excellent balance between traditional and progressive. The Woman I Am‘s production would probably be best described with a few exceptions as simply “mainstream safe.”
But it may not be fair to keep comparing The Woman I Am to 100 Proof, and the production may be more of a symptom of what the songwriters were giving Kellie and producer Frank Liddell to work with; not affording them those cool chord changes or unique themes that allow for a deeper exploration of sonic parameters, nor the inspiration from a truly original story.
Simply put, I wanted more Kellie Pickler on this album.
At the same time, The Woman I Am certainly has its moments, and starts and finishes off strong. “Little Bit Gypsy” and its progressive chord play harkens back to what made 100 Proof so cool. “Selma Drye” about Kellie Pickler’s great grandmother shows just how engaging Kellie Pickler can be when she gets deeply personal, and the songs is bolstered by a very fun, yet traditional and acoustic-driven approach. Though some of the lines of “I Forgive You” and “Where Did Your Love Go” are a little too saccharine for the deep message the songs try to convey, the messages prevail, making for standout songs. And though “Someone, Somewhere Tonight” seemed like a very curious pick for a lead single, it embodies a lot of depth and substance, and showcases Picker’s vocal strengths perfectly. Despite some of the weakness of the song matter, Kellie’s vocal performances are sensational throughout The Woman I Am.
Though The Woman I Am sort of dashes any hopes for Kellie Pickler as an artist that could crash the Music Row party from the inside out and foster a new spring of substance and roots in mainstream country music, that doesn’t mean there isn’t some good songs, and good music here. “Kellie Country” is still much better than mainstream country, and though it may be a stretch to label her an Outlaw, she is certainly a rebel, and continues to be a refreshing choice.
1 1/2 of 2 guns up.
Who knew that women could suffer from quiet desperation just as potently as men? Sure, maybe that theme has been touched on with subtle shades here and there in country music over the years, but rarely has it been delved into with such honesty, or been portrayed in such a moving manner as songwriting maestro Brandy Clark does in her breakout album 12 Stories.
The hidden dystopia seething under the smile of sweet suburban life, and the general dysfunction plaguing any and all affairs of the heart is the broken-minded madness that Brandy taps into with this album, following fed up and frustrated fraus who are willing to medicate themselves and match the misdeeds of their men sin for glorious sin. Frail, turbulent, vengeful, but still somehow empowered and held together by the strength and perseverance of womanhood, the heroins of Brandy Clark’s 12 Stories are as inspiring as they are shameful, and tragic as they are real.
Brandy Clark is a fast-rising songwriting commodity of the country music world to say the least. In a genre and time where a couple of lucrative songwriting credits can make you as hot of a topic as any, just as a lack thereof can label you forgotten, Brandy Clark, like some other female songwriters in country before her in 2013, proves that taking songwriting approach to getting noticed by the suits is the much more savory way to make your name than the performance realm and its plastic reality.
Brandy’s songwriting credits are considerable, and include Miranda Lambert’s “Mama’s Broken Heart,” The Band Perry’s “Better Dig Two,” Kacey Musgraves’ “Follow Your Arrow,” and Wade Bowen’s anti-hit “Trucks.” Brandy is firmly ensconced in a close, songwriting circle that includes Kacey Musgraves, songwriter Shane McAnally, and a few select others. However she weaseled or worked her way into her current position, she is part of country music’s 2013 female songwriting revolution, painting in themes and colors that are counter-intuitive to Music Row’s tried and true tropes.
This album has what might be fair to portray as an “instant classic,” though it’s not likely to sniff the top of the country charts anytime soon. The song is called “Stripes” (see below), and it defines the keen sense of the female condition that Brandy Clark brings to her music that sets her apart from the fold. Because of the commercial implications, “Get High” might receive the most attention, and though it may be a little too obvious to a critical ear, the cunning lyricism is nonetheless noticeable, as it is in songs like “What’ll Keep Me Out of Heaven” and “The Day She Got Divorced.” The final track “Just Like Him” is the real gem of 12 Stories, swimming in heartbreak and emotional potency.
There aren’t a ton of criticisms to lob at Brandy Clark and 12 Stories but there are a few; the first being the similarities in themes to Kacey Musgraves and her own breakout album, Same Trailer, Different Park. This is to be expected, seeing how Clark and Musgraves have worked together so intimately, but it makes 12 Stories feel like the second album instead of the first. Songs that like to try to reveal the farce of suburban life, the drug and pill references, how the song’s characters have a careless, almost arrogant, “I don’t give a shit what the world thinks” tone begin to wear their own grooves of predictability, despite residing out of Nashville’s beaten path. A few years ago, a marijuana reference in a country song was scandalous. Now it is passe, and can’t be the only thing a song is constructed around unless the song’s sole purpose is to sell.
The music on 12 Stories is also similar to Musgraves, though this isn’t necessarily a criticism. Progressive and at times rhythmic, with dalliances in traditional country instrumentation and sparseness. Sonically the album is sensible, and you find yourself spending much more attention on the words than the music—a good sign for a songwriter’s album.
The other important observation about 12 Stories is that very similarly to some Pistol Annies and Miranda Lambert material, this album could appeal very differently to the respective genders. Ladies will love it, while some men will look at it a little sideways. Somewhere deep in this music is enough truth that men who listen deeply will discover something to relate to, but I’m not sure it’s fair to judge a man if he is unable to find it. This album is steeped in a women’s perspective, and is quite harsh on its male characters.
Many have 12 Stories on their short list for “album of the year” and such. That is a very fair and understandable take, but I’m not sure I’m willing to go there, at least not yet. Nonetheless, Brandy Clark does a very commendable job telling her 12 Stories, and you would be wise to listen.
1 ¾ of 2 guns up. 4 of 5 stars.
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These are lines pulled from the opening track of Justin Moore’s new album Off The Beaten Path, and with a steel guitar riding high in the mix accompanying Justin’s imperatives and a wide-brimmed cowboy hat crowning his backlit visage splayed across the album cover, the distinguishing music listener who doesn’t care too much for today’s country radio may conclude they have just found a keeper.
Then of course a few songs later, Justin seems to forget his own proclamations and manages to name drop Kim Kardashian, J-Lo, Snoo P Double G, filch a line from “Honky Tonk Badonkadonk,” and even try his hand at country rapping. And that’s just in one song. Hey we’ve all got to eat, right?
Justin Moore’s 2011 album Outlaws Like Me was declared the worst album ever by Saving Country Music up to that moment in time; a diagnosis I still stand behind with puffed chest. Earlier this year when Moore somehow sniveled his way onto the lineup of Willie Nelson’s 4th of July Picnic, as I stood 50 feet from the stage listening to Justin attempt to Svengali the crowd into believing that he was an industry outsider and one of the last champions of real country music, the only reason I didn’t rush the stage was because I didn’t have a good plan of what I would do when I got there, and I wanted to still be around later for Willie’s set.
Despite a few moments of respite, Off The Beaten Path is like an expeditionary campaign to discover and exploit every single worn out modern lyrical trope of American country music, and to try and make some new ones. Luke Bryan may be the latest of the discipline, but Justin Moore was the first to master disregarding any and all independent thinking or self-desired creative penchants to simply become the country music equivalent of Silly Putty for the suits to do whatever they choose with. And the fate they chose for Justin was to be Big Machine Record’s representative for attempting to re-integrate the revenue of anti-Nashville sentiment by misleading the public into believing Justin’s career was the result of a repressive industry looking to dog him at every turn because he was too country. Yes, he’s an Outlaw, bucking the system, flying in the face of artists like Taylor Swift….whom he shares the same record label with.
But though it would be easy and romantic to declare Justin Moore’s 2013 offering as bad enough to depose 2011′s Outlaws Like Me at the shameful peak of crap mountain and use this album as a vehicle to vent any and all unresolved anger held over from my personal life in the form of the most venomous of rants, the real truth of the matter is that Off The Beaten Path is not nearly as bad as one would initially assume.
It’s still more bad than good without a doubt, with a strong contingent of country checklist songs eroding any redemptive moments on the album and then some. But I was surprised how unpredictable this album was, how some songs took a really progressive approach instead of just relying on rock guitar riffs, and how many slow, meaningful songs made the final cut.
The only reason the song “Old Back In The New School” could be considered bad is because it’s coming from Justin Moore, rendering it hypocritical. But on it’s own, it’s not too shabby. Neither is the slow and sincere duet with Miranda Lambert “Old Habits.” In fact, it’s downright good, and wouldn’t be a bad contender for the “Vocal Event” categories of the big country award shows. If it weren’t for lines like “We work hard, play hard, take our paychecks straight to the Wal-Mart. Girls will out drink you, boys will out Hank you…” the song “This Kind Of Town” could really be something sensational in the way the song is crafted.
But unfortunately, that line does exist in the song, and so do a dozen other cringe-inducing moments on Off The Beaten Path. Really, it’s the words of this album that hold it back the most. There’s some authentic country instrumentation here, and some really sweet moments sonically. And then there’s songs like the title track that feel oh so cliche in both words and structure, and the aforementioned country-rapping name-dropping abomination known as “I’d Want It To Be Yours” that will probably receive its own dedicated diagramming and ridicule in due course.
As bad as it is, I have to give Justin Moore and his songwriters credit for guile in crafting the song “Country Radio” that will flatter every programming manager from coast to Clear Channel coast and probably make it into radio rotations despite its shortcomings. “For Some Ol’ Redneck Reason” that features a crotchety, borderline disturbing appearance from Charlie Daniels in a moment of token Patriotism probably won’t. Whatever happened to going to LA via Omaha?
But color me surprised. Certainly not a good album, and I’m definitely not recommending it. But on Off The Beaten Path, Justin Moore peels himself off the very bottom of the country music mat, and proves that maybe if he wasn’t such a tool, he would have a little something.
1 ½ of 2 guns down. 2 of 5 stars.
It’s so easy to get swept up in stereotyping mainstream country as being completely void of anything worth your time these days, but in truth there’s still a lot of great music in the popular music world, however a small percentage it might be of the total package. Saying the mainstream has nothing good to offer is narrowing your musical experience no different than saying that music is bad because it’s not popular. Life is too short to impose unnecessary limitations on your music perspective, and a strong case could be made that mainstream country has actually become better over the past few years when it comes to mainstream country’s females.
Some quick ground rules: Not included here are legends who still might be considered part of the mainstream but are obvious even to independent fans like George Strait, Alan Jackson, Vince Gill, Reba, and even more contemporary names like Martina McBride and Lee Ann Womack. They go without saying. Many consider Eric Church and Miranda Lambert as exceptions to the mainstream rules, but they’re both sort of their own case studies. Same could be said for the Pistol Annies who it is unclear if they even still exist at the moment. And of course if you think there’s a mainstream artist worth listening to not mentioned here, please feel to leave their name below in the comments. And just to clarify the term “mainstream,” consider it an artist that is on a major Nashville label, or has been on a major Nashville label recently.
In many respects you can’t blame independent fans of being a little suspicious of a former American Idol contestant signed to Sony who just won Dancing With The Stars. But Kellie Pickler’s staunchly authentic album 100 Proof was so damn good, Sony dropped her and she became the poster girl for taking back the music in 2012. Since then Kellie Pickler has done nothing but re-affirm her career path of doing things her own way and fighting for the integrity of the music, measuring success not by album sales, but how true she is being to herself. Pickler may not top the Billboard charts, but she’s become a critic’s favorite and an inspirational story of what can happen when a mainstream artist stands up for themselves.
I’m not sure what is more miraculous, that Easton Corbin is able to get away with being as country as he is in the mainstream, or that’s he’s actually been able to find some commercial success with that sound. Though some independent fans might find him a little cheesy, it is hard to deny that Easton Corbin’s music has substance, and the songwriting and traditional approach to his music is refreshing. Even his big #1 “A Little More Country Than That,” which some may decry as a laundry list song is at least country as it lists out its countryisms, and was written by Roy Lee Feek of the traditional group Joey + Rory. Singed to Mercury Nashville, Easton Corbin deserves as much credit as anyone for trying to keep the mainstream honest.
Though her much-anticipated debut album maybe have been a little more cautious than what her long-time fans know she’s capable of, Kacey Musgraves still remains the symbol of how songs and songwriting are making a resurgence in 2013. Though she has yet to have one Top 10 single, with support from her label Mercury Records, she has reached the very top echelon of female performers in the country music industry, somehow becoming a perennial shoe-in for the “Female Vocalist of the Year” nominations from both the CMA and ACM Awards seemingly overnight, and getting nominated for more CMA Awards in 2013 than anyone except for Taylor Swift who she equals with 6. Though Musgraves still needs to prove her muster as a country superstar by delivering a big single, she has already proven to be a fan and critic favorite, and has springboarded to the very top of the business despite her underdog status.
They may be signed to the Country Music Anti-Christ Scott Borchetta’s Big Machine Records (same as Taylor Swift, Rascal Flatts, etc.), but you won’t find a better, and at times, more outspoken artist and band than Raul Malo and the Mavericks. In 1995, The Mavericks won “Vocal Group of the Year” for both the CMA’s, ACM’s, and the Grammy’s, but their hard-to-define sound proved to be too much for mainstream country to handle on its journey south to pure pop. But The Mavericks remain solid members of the mainstream world, even working as the house band for the 2013 CMT Awards. Their latest album In Time is as good as any.
The vixen-esque career songwriter with eyes the size of Cajun tires has been slaying audiences for years with her solo material and her work with the Pistol Annies, and now that she’s unleashed her much-anticipated solo album Like A Rose through Columbia Nashville, Ashley symbolizes the one glimmer of what could be considered traditional country in mainstream channels. As expected, with music as authentic as hers, the industry has been timid to get behind her and deliver the radio plays and awards she deserves, but she still remains one of traditional country’s biggest mainstream champions.
Because Gary Allan has always resided just one tier shy of country music’s top names, it’s easy to be mislead just how much commercial success he’s seen over the years. Over his 17-year career with Decca and MCA Nashville, he’s been awarded two platinum records, two gold records, eleven Top Ten hits, and four #1′s. Yes, he’s had some singles that are clearly courting of mainstream radio, and he himself would tell you his sound is just as much, if not more rock than country. But Gary Allan is one of those guys that can still get attention from country radio without making you gag, while album cuts show a real sincerity to his music. He also has been outspoken about the state of country music recently (though he did back peddle somewhat afterwards).
Say what you will about one of the co-writers of “Honky Tonk Badonkadonk,” Jamey Johnson was able to take a very traditional sound and authentic country songs and make it to the very top of the charts and industry awards in a business that is usually unforgiving to this type of true style. His double album opus The Guitar Song sneaked its way all the way to #1 on the Billboard charts upon its debut, and his song “In Color” won Song of the Year accolades from both the CMA and ACM Awards in 2009, and was nominated for a Grammy. Though his original output has slowed as of late and he’s apparently not writing and frustrated at his contract situation, his 2012 Hank Cochran tribute still charted #3 on the Billboard Country Albums chart.
After Zac Brown recently made some inflammatory statements about Luke Bryan’s song “That’s My Kind of Night,” his own country career came under intense scrutiny. Brown has always been out front saying he believes he is more Southern rock than country, but appreciative of all the support the country industry has given him, which has been huge to the tune of being a perennial contender for Vocal Group awards at both the CMA and ACM’s. Songs like “Chicken Fried” and his numerous beach tunes leave him open to criticism, but it is still hard to not name Zac Brown as so much better than your average mainstream country music fare.
When discussions are broached about mainstream country artists that still have substance, Dierks’ name invariably comes up. Throughout his career, he’s strived to create a balance between courting radio and creating a music legacy that isn’t devoid of creative expression. With albums like Up On The Ridge, Dierks progressive and traditional fans glimmers of hope. But then he will turn right back around on you and put out the biggest cry for commercial attention, giving listeners a headache of where they’re supposed to be with him. In the end it’s best to resolve that Dierks will likely always be a mixed bag, but is worth appreciating when he does decide to do country music right.
That’s right. A scandalous accusation I know, but one I stand behind with puffed chest and other such countenance to covey, “Yeah, I said it. You got a problem with that ?!?!”, and one that holds up when taking the most basic look at our little genre known as country music, and simply asking, “Where in the hell are the women?” Especially on country radio.
No, I don’t have any hidden camera footage of country music scheming with his fraternity brother that runs HR to systemically keep the women of country music at a lower pay scale. But if country music in 2013 were the equivalent of an office worker, it would be a douche-tastic, handsy, shallow, down-looking chauvinist with triple sec on his breath after lunch that specializes in subtle pelvic thrusts during elongated, unnecessary hugs, and pubic hair jokes.
Currently on Billboard’s Hot Country Songs Chart, there is not one single female artist in the Top 20. Not even one. Not even a Taylor Swift, Miranda Lambert, or Carrie Underwood. Not even a song from a country music group like The Band Perry or Lady Antebellum that has a female member. And this isn’t the first time in recent memory that this has happened. In fact aside from the occasional errant single from one of the aforementioned girls, a country music sausage fest is the default setting for country music’s Top 20 in 2013.
A deeper look into Billboard’s other charts and Neilsen’s radio ratings reveals similar discrepancies when it comes to the female gender and country music. But it doesn’t just stop there. The term “sexism” has two definitions:
That’s right. It’s not just that the women of country music are getting locked out of the process, being ignored by radio programmers who are predominantly male, and are being under-developed by the male-dominated industry. It’s also that the songs, artists, and albums that are dominating the charts and that are being pushed first and foremost by the industry are portraying women in a very objectified, stereotypical manner, both in the lyrics of the songs and in the accompanying videos.
Hey, I’m a red blooded male with fully-functioning male plumbing and a propensity to want to look at T&A just as much as the next guy. All males were instilled with the stupid gene to drool at cleavage through evolution. But there is a time and a place for everything, and when I’m walking through the grocery store with my young, impressionable niece to buy her a freeze pop, I don’t want to be accosted by a Luke Bryan song that works like the soundtrack to a date rape terrorizing our ears. Do these assholes not have women in their lives that they hope will be respected by other men? There’s a time for all adults to get raunchy, but country radio is supposed to be that one place of respite on the FM dial. Here in 2013, Top 40 country music is just as much of a den of iniquity as anything.
Artists like Luke Bryan, Tyler Farr, and Florida Georgia Line have no respect for women, and they have no respect for country music. Or if they do, there’s no evidence of it in their songs and videos. It’s just stereotypical fashion-plate models in bikini’s in objectified roles with the sole purpose of being oogled at just like their shiny new jacked up pickup trucks.
But even worse, when I watch concert footage of these country music cocks of the walk up on stage strutting it like Chippendale’s dancers, I’m not seeing a bunch of men of the front row pumping their fists. No, this female-less country phenomenon is not just about males using their physical superiority and good ole boy system to keep women down. The women of mainstream country are taking the role of willing accomplices, inviting this cultural degradation and humiliation with their hands raised in their air submissively and screaming for Luke Bryan to shake his butt. The problem isn’t just that male record executives and male program managers at radio stations aren’t giving women their proper due. It’s that the women are the ones that are demanding this drivel and driving the market.
And no, I’m not just calling for an equal playing field for women. If you have to, you gerrymander the damn system to makes sure you have at least one song on the charts that showcases female talent. Are you telling me there’s nothing out there from a female fit for the Billboard Top 20? There are many women who could immediately make country music better right now—professional, proven, beautiful, appealing, relevant, and ready to take their music big time and represent women in a positive light in a genre that has always been about showcasing strong women like Loretta Lynn, Dolly Parton, Emmylou Harris, and Alison Krauss.
Come on country music, let’s do this. I’m tired of telling folks I’m a fan of country music, and then having to put a paper bag over my head in shame, or load it down with qualifying points. We have an obligation to discover, nurture, and showcase female talent. If country music was a board room of 20 members and not one female, some uptight women’s league would be suing their asses from hell to breakfast. So why should country music be held to a different standard?
The dirty little reason that women are not being showcased on country radio is because they’re not willing to sell out like the men. The women of country music respect themselves just fine. It’s the male performers of country music, their industry counterparts, and the women who fawn on them that are driving this trend.
And I’m mad as hell about it.
Look, I like Blake Shelton like I like a trip to the proctologist. He’s got to be the leading contender for the biggest tool in corporate country music right now. He torqued me and many others off earlier this year when he characterized classic country fans as “Old Farts and Jacksasses,” and his country rap abominations are the scourge of the genre.
But qualifying points aside, in the end it is just music, and like the Wylie Coyote and the sheepdog in the old Looney Tunes cartoon punching the clock at the end of the day and putting aside their differences, sometimes you need to see the bigger picture. These Westboro Baptist Church turds beat all, and so good on Blake Shelton for taking the game to them and telling them what for.
Westboro has been targeting the singer and reality show judge through Twitter, calling him a “vulgar adulterer” for divorcing his first wife Kaynette Williams and marrying fellow country star Miranda Lambert. They also blamed him for gay marriage becoming legal in several states, and announced their intent to picket his upcoming concert in Kansas City on October 3rd.
So in typical BS fashion, Blake twisted off on them via Twitter, saying, “Hey WBC.. I’ve got one more sin for ya… Blow me. This isn’t about God. This is about using this opportunity to to make y’all look like the absolute complete dipshits you are.”
Blake is in a growing line of stars that are turning the tables on Westboro as opposed to standing and taking their abuse. A couple of weeks ago Vince Gill accosted Westboro Baptist protesters outside of his show in Kansas City, and pop star Ke$ha had her line dancers deliver a dancing beat down of Westboro protesters in August.
War makes strange bed fellows, and aside from being dipshits, Westboro has been making it worse lately by becoming some strange, sadistic version of celebrity crotch sniffers. As if Blake Shelton’s, or any other celebrity’s sins equate any more than the rest of ours.
Screw these recidivists and their worn out bit. I’m on Team Blake with this one.
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.
In the constant, eternal, and sometimes nauseating back and forth argument about the direction of country music, it is easy to focus in on the big celebrity franchise names who sing and perform the songs as the primary culprits for the consternation about what country music has become. But it may be short-sighted to think that these select few celebrities, or even the industry professionals behind them, are singularly to blame, or even deserve the majority of criticism.
In Zac Brown’s recent disparaging comments about Luke Bryan’s hit “That’s My Kind Of Night,” Zac went out of his way to lay as little blame as possible on Luke Bryan. Instead it was the song itself, and its songwriters that drew the brunt of Zac Brown’s ire. “You can look and see some of the same songwriters on every one of the songs,” Zac said. “There’s been like 10 number one songs in the last two or three years that were written by the same people and it’s the exact same words, just arranged different ways.”
Though Zac didn’t name any names, the likely target of Zac’s criticism was country songwriter Dallas Davidson. Davidson was one of three songwriters on “That’s My Kind Of Night,” and is one of Nashville’s hottest songwriting commodities with a string of major hits to his name.
As one of the primary originators of the current country checklist / tailgate craze in country music, as well as the trend of instilling urban jargon and themes into what is traditionally considered rural music, you can point to Dallas Davidson just as much as the artists that perform his songs as one of the primary drivers of country music’s current mainstream sound.
Dallas Davidson is the reigning ACM Songwriter of the Year, was the 2011 Songwriter of the Year for BMI, and has also received 3 CMA “Triple Play” awards, which recognize songwriters for having three #1 songs in the same year, including six #1 songs in 2011 alone. As songwriters go, Davidson is as decorated as any at the moment. Dallas isn’t just one of the most influential songwriters in Nashville, he’s one of the most influential individuals right now in the entire country music business, with his songs dominating the charts and influencing the current direction of the format.
Davidson’s first breakout song was “Honky Tonk Badonkadonk,” co-written by Jamey Johnson and Randy Houser. The troika wrote the song in 2004 when hanging out at a club together, and reportedly completed it in an hour. When Trace Adkins released it as a single in 2005, it became a huge commercial success. “Honky Tonk Badonka Donk” is given credit for launching the careers of all three of its songwriters, but where Jamey Johnson would veer towards becoming one of the mainstream’s few traditional-leaning singer/songwriting performers, and Randy Houser would go more in the pop country performance direction, Dallas Davidson stuck to being primarily an off-the-stage and behind-the-scenes writer of hits.
“Honky Tonk Badonkadonk” could be counted as mainstream country’s first major country rap hit, making Dallas Davidson one of the first country rap hit songwriters, predating Colt Ford and Cowboy Troy. But Davidson wouldn’t stop there. Here 8 years later, Davidson is responsible for both the #1 country rap singles of 2013—the aforementioned “That’s My Kind Of Night” performed by Luke Bryan, and Blake Shelton’s “Boys ‘Round Here.”
In between, “Honky Tonk Badonka Donk” and today, Dallas Davidson had Luke Bryan cut his country rap dance tune “Country Girl (Shake It For Me),” and wrote many other prominent singles that have made it onto the Billboard charts, including Luke Bryan’s 2010 #1 “Rain Is A Good Thing,” Lady Antebellum’s #1′s “Just A Kiss” and “We Owned The Night,” Justin Moore’s #1 “If Heaven Wasn’t So Far Away,” Brad Paisley’s #1 “Start A Band,” and Billy Currington’s #1 “That’s How Country Boys Roll.”
Dallas Davidson has accumulated more songwriting success in the last 3 years than anyone, but his output would probably be better characterized as potent as opposed to prolific. He’s not one of these songwriters who seems to have half a dozen singles on the charts at any given time, but the songs he contributes to tend to have demonstrative success and impact on the sonic and lyrical direction of country.
Another prominent songwriter who is contributing to the sonic direction of country music and the emergence of country rap is Luke Laird. Luke was the writer of Jason Aldean’s “1994″ and Trace Adkin’s “Hillbilly Bone.” At the same time, Luke Laird has worked intimately with many other stars from a wide swath of the country music world. Laird co-wrote the majority of songs on Kacey Musgraves’ recent album Same Trailer, Different Park. He co-wrote 3 songs on Eric Church’s 2012 CMA and ACM Album of the Year Chief, he co-wrote Little Big Town’s big hit “Pontoon,” and 10 songs for Carrie Underwood in the last 5 years. In fact it might be easier to list the artists Luke Laird has not worked with than the elongated list of artists that he’s contributed lyrics to since starting in 2005.
Same could be said for the ultra prolific professional songwriter Shane McAnally, who co-wrote Kacey Musgraves’ “Merry Go ‘Round” with Luke Laird and Kacey, as well as 8 other songs on Musgraves’ Same Trailer, Different Park. He also co-wrote “Mama’s Broken Heart” with Musgraves and performed by Miranda Lambert, giving McAnally two songs in both the Single and Song of the Year nominations for the 2013 CMA’s.
What’s quizzical about McAnally’s output is how he seems to be all over the map in regards to his tastes and influences. On the surface he seems to be a writer who works with more substance compared to Luke Laird and Dallas Davidson, but he’s also given credit for co-writing Florida Georgia Line’s “Party People,” and Lady Antebellum’s ultra-saccharine “Downtown.” But then McAnally turned around and wrote Wade Bowen’s recent single “Trucks,” which pokes fun of Music Row’s recent country checklist trends, perpetrated by songwriters like Dallas Davidson.
But more importantly, you put these three songwriters together, along with a handful of select few others, and they constitute and impressive block of what makes up mainstream radio’s playlists, while populating many of the top spots of the country music charts. The faces of the performers may change, but the names of the songwriters tend to stay the same. Where it is seen as counterproductive by the music industry to have an artist with multiple singles on the radio at the same time competing with each other, songwriters don’t have such restrictions, blending into the background and rarely being regarded by the mass public.
The mass public may also be perplexed why the songwriting process always seems to happen in 3′s. Dallas Davidson is from Georgia, and is a member of the industry famous “Peach Pickers” songwriting team with co-writers Rhett Atkins and Ben Hayslip. A long-standing tradition in country songwriting called “Third For A Word” makes it possible for songwriters and performers to simply contribute one word to a composition and be awarded an equal share of credit and royalties for the song. Recently this trend has seen some big name performers jumping on to contribute very little to a song, but snatching up lucrative royalty compensation for their small contributions. Songwriters might allow this to happen so their compositions will get cut by big celebrity performers. Similarly, if songwriters like Dallas Davidson, Luke Laird, and Shane McAnally have their names on a song, it can mean a significant spike in interest from labels and performers since they are such hot commodities.
Country music is a copy cat business, as can be seen in the continuance of using the same songwriters over and over in songs that sound very similar both sonically and lyrically. As explained in a recent article about the science behind music, popular music is losing its diversity. It is easy to single out the artists who are performing these songs, but many times they are simply following orders. Some artists are given certain latitude in picking the songs they will cut, and some like Miranda Lambert, or artists on Scott Borchetta’s Big Machine Records may have more latitude than others. But as industry professionals attempt to spy trends and exploit them commercially through a label’s talent roster, more and more the songwriting process becomes very streamlined, relying on formulas and professionals who know how to optimize ideas for optimum radio play.
But beyond the process, the songs coming out of the Nashville / Music Row system are stimulating a backlash from their lack of quality like never before. Since the beginning of country music, there has always been sects that believe country is being influenced too much by other genres, but in the last few weeks, artists who have reached the very top of success in the industry are speaking out in greater numbers. As much as Music Row and certain artists may want to laugh off this criticism, it speaks to the larger issue of substance in the genre, and how it could jeopardize the long term viability of the format.
In responding to Zac Brown’s criticism of the current state of country music, songwriter Dallas Davidson said, “We write about what we know about. What I know about is sitting on a tailgate drinking a beer. Hell I live on the river. When Luke called me to tell me about what happened, I was literally smoking Boston butts on my homemade cooker at my 800 square foot river house with about four of my buddies with their trucks backed up, sitting on a tailgate.”
Davidson’s comments reaffirm what an independent Texas songwriter named Possessed by Paul James told Saving Country Music in a recent interview. “When looking at the majority of music, it’s not a cultural voice of change, it’s just a reflection. It’s not encouraging us to do anything, it’s just reflecting, like on my ‘Red Solo Cup.’”
Songs about tailgates are not inherently bad, and certainly every song does not have to be about a deep subject. It is the monopolization of the format with the same homogenizing subject matter where it becomes a problem—where one tailgate song leads into another tailgate song, and yet another, regardless of the song’s performer because the person or persons that wrote the song are the same, or are being influenced by similar trends.
Whether it is a financial portfolio, and educational environment, or an environmental eco-system, diversity is always championed as the key to a healthy balance and to long-term sustainability. As the pool of songwriters contributing to mainstream country’s sound continues to narrow, it leaves country’s future resting on the output of a few select pens.
Songstress Patty Griffin lives one charmed life. Her breaks in the music business came late, but they came, and now she finds herself ensconced on the top shelf of influential and respected Americana singers and songwriters from her solid song catalog and impressive resume of vocal accoutrements lent to the music of others.
Even better, recently a worthy beau by the name of Robert Plant came courting, and all of a sudden Patty and her music find themselves the subject of international intrigue, and withstanding any cynicism by way of Griffin’s sincerity as both an artist and person.
American Kid is a worthy specimen if someone asked you produce an album that exemplifies Americana’s influence and artistry. From the ultra-traditional “Mom & Dad’s Waltz” by Lefty Frizzell, to the progressive and airy “Highway Song” co-penned by Robert Plant, American Kid presents itself like a tree hanging heavy with fruit, with all but the two aforementioned songs written by Griffin solely. Though in no way a full-on collaboration with Patty and Plant, his presence here and there gives American Kid an additional layer of compelling character.
Some may consider Griffin more of a songwriter than a performer or singer since her credits include such heavyweight names as The Dixie Chicks, Martina McBride, and Miranda Lambert just to name some. But Patty’s voice might be her most exclusive gift.
Immediately on American Kid, Griffin brandishes her sweet tone that has gone so astoundingly untouched by time on the opening song “Go Wherever You Wanna Go.” This is chased by the rhythmic, foot-pounding “Don’t Let Me Die in Florida” that grabs you by the scruff and pulls you right into the American Kid experience. “Ohio” evokes all the artistry and influence of Emmylou Harris’s Wrecking Ball album in the present-day context with help from Robert Plant on harmonies, leading into the beautiful colloquial expressionism of the rural-feeling “Wild Old Dog.”
You may initially want to hate “Highway Song” as some audition for a fantasy film soundtrack, but the tune grows on you until it becomes one of your favorites. American Kid does turn in some weaker moments towards the end, and the gender of the voice of some of American Kid‘s final songs like “Get Ready Marie” and “Not A Bad Man” may confuse some. But listeners should heed that Patty wrote this album to be a tribute to her father who passed away recently. This decision is what imbibes this project with an inspired feel, honing Patty’s grief and reflection into the music until it elevates this effort to where the argument can by made it is Patty’s best, showcasing her impressive breath of talents, from songwriting, to singing, arrangement, and the intangible elements that make songs grow on you. The personal nature of the material becomes shared with the listener through Griffin’s talent and sincerity.
So many strong projects in the Americana realm right now might make the consumer feel a little overwhelmed, but Patty Griffin’s American Kid deserves as much attention as any.
1 3/4 of 2 guns up.
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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.
Yes, if you needed any more evidence that the Mumfordization of music has reached every single God forsaken corner of popular music world, now Dave Mustaine and his heavy metal legacy band Megadeth are browsing through Guitar Center catalogs looking for “guitjos” and releasing a supposed “bluegrass-inspired” track on their latest album Super Collider. It’s called, get this, “The Blackest Crow.” Because what’s more \m/ *METAL* \m/ then the most blackiest crowiest of black crows that has ever existed on this dark and unforgiving mortal coil.
If this song was just presented as another track on their newest album, you probably wouldn’t think much of it aside from having a cool, rootsy intro. But Mustaine’s strong penchant to have this be some ode to metalgrass fusion is where it gets a little silly. Supposedly Mustaine reached out to Willie Nelson to guest on the track, but Willie “couldn’t get his schedule to line up” (which is Texan for “I’d rather get raped by a skunk”). He also asked Miranda Lambert of all people. “Although she declined,” Mustain explained, “her manager was polite enough to reportedly say she didn’t feel she could make the song better. I was very flattered.”
Man, there’s so much accidental comedy in that quote.
Look, the song is fine for what it is, which is a metal song with a bluegrassy intro. It’s just that Megadeth metal never really evolved much from its 80′s-era introduction, and unfortunately their music hasn’t held up as well as Mustaine’s perm. Listening to this song makes me want to put on a black trench coat, poke my thumbs through holes at the ends of my long sleeves, and smoke Marlboros with my friends at a Waffle House before throwing eggs at the McCormick’s Caprice Classic because their kids are such preppie assholes.
At some point all music must evolve, or in this case, devolve to its roots, and that’s what Dave Mustaine and Megadeth are trying to do here. No, it’s not anywhere near a bluegrass or country song, but for Megadeth metal, the “bluegrass” approach adds something that they’re music has been craving for 30 years now—something new.
1 1/4 of 2 guns up as a METAL song.
So here come the Pistol Annies again, with their cleavage heaving and lined with lace, all attitude in their tank boots and tube tops. So what’s the take? Are they traditional country saviors, or a silly act?
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When you boil it down, the Pistol Annies are gender music. Sure, we all tend to be able to relate more to a singer and and a perspective that mirrors our own, but the Pistol Annies project seems to take it a step further. Either you’re a dude saying, “Yeah they’re hot and all, but I just don’t get it. My wife made me buy her the CD for her birthday.” Or you’re a chick, and you’re living vicariously through the Annies’ bawdy, tipsy adventures. Standard country songs that on the outside may seem to only appeal to women like “Your Good Girl’s Gonna Go Bad” or “You Ain’t Woman Enough (To Take My Man)” can still be easily transposed to the male perspective. Not so much for a song like Annie Up‘s “Being Pretty Ain’t Pretty.” Certainly there is exceptions with certain fans and certain songs, but for the most part, you can expect The Pistol Annies’ appeal to break across gender lines.
The Pistol Annies also inhabit a weird head space when it comes to one’s musical perspective. To mainstream country fans who tend to lean towards wanting more traditional sounds and an attention to songwriting in their music, they are a breath of fresh air. Lo and behold there’s actually some steel guitar on this album, and lyrical offerings that don’t make you feel stupid for listening. But an independent or traditional country fan’s ear is going to pick up on a polished sound, lyrical performances that are too perfect, slick and predictable arrangements, and still a somewhat formulaic approach to songwriting despite whatever depth.
But however slick this album may be, I still don’t hear a smash radio single from Annie Up, and Annie member Ashley Monroe has said herself this is not the aim of the album. However this may say just as much about the level of substance found on Annie Up as it does the dwindling importance of commercial radio. The album’s lead single “Hush Hush” has an engaging guitar hook and a rising chorus indicative of a successful radio song, but don’t expect it to depose Florida-Georgia line or the gaggle of recent country rap singles from the upper echelons of country’s charts anytime soon.
Songs like “Dear Sobriety” and the acoustic “I Hope You’re The End of My Story” are star character witnesses for the argument that the Pistol Annies deserve to be considered an act that is really elevating the state of mainstream country music in 2013. Let’s not gloss over that these ladies wrote all of these songs themselves. And Annie Up also offers a bit of a reprieve from the feeling that The Pistol Annies are simply a “bit”– an opinion one could glean from their first album Hell on Heels with songs like “Takin’ Pills” and the title track.
But the Pistol Annies remain a self-described affectation with their character pseudonyms and seductive dress. It is a solid secondary project behind each member’s solo career, and this truth could always constitute a ceiling for the Pistol Annies’ success and long-term influence. At the same time, the side project aspect of the whole thing takes the pressure off of the artists to deliver big revenue numbers, and allows them to just have fun in a manner that is infectious with their audience, however slanted it is towards the female.
This post-breakup “get yourself together girl” narrative that seems to have popped up a lot in mainstream female country songs lately comes up again a couple of times on this album, and makes one wonder when that thread might erode to cliché. And though each Pistol Annie brings an excellent voice in both skill and tone, I just don’t feel the meshing of pitch that pulls the emotion out of a song like you would expect from two and three part harmonies from remarkable singers. There’s a few distinct exceptions, like the sparse “I Hope You’re The End of My Story.” Miranda Lambert’s singing specifically seems to really emphasize her Southern accent, possibly to bolster the Pistol Annie sass they hoped to embed in this project.
It’s not as much that the Pistol Annies are an enigma themselves, it’s that they can become an enigma depending on your perspective. Better than most of what you hear on country radio? Certainly. A band of real pith and weight when compared to entire body of roots music in 2013? Maybe not. But not anywhere near the bottom, and maybe helping to challenge what’s at the bottom by bringing an elevated perspective of what real songwriting is to the passive music listener. Or at least the female one.
1 1/4 of 2 guns up as an album.
1 1/2 of 2 guns up as a mainstream album.
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Aside from all the bad music, disappointing award winners, and ridiculous stage antics, the 2013 Academy of Country Music Awards may go down as one of the most gremlin-riddled presentations in the modern award show era. An inordinate amount of technical problems plagued the night, including many lead vocal parts with washed-out audio, out-of-tune performances by artists who are usually nails, and other embarrassing mishaps and funny moments. Here are some of the major ones.
Shania Twain Calls Luke Bryan, “Luke Bryant”
The ditsy Shania Twain has been out of the music scene for a while, and it showed last night when she presented the biggest award of the night: Entertainer of the Year to Luke Bryan. But apparently, Shania didn’t know who Luke was, or at least didn’t know how to pronounce his name. I know Shania is from Canada, but I didn’t know adding a non-existent “T” to the end of someone’s last name is part of the Canadian dialect. What a hoser. (at the 1:17 mark)
Brad Paisley’s Missing Vocals / Cut Off by Bumper Music
Throughout the night, viewers of the 2013 ACM’s had their ears strained by vocals that were either muddy, too far down in the mix, or out-of-tune. Brad Paisley has the biggest legitimate beef with whoever was twisting and tweaking behind the board when he came up to perform his song “Beat This Summer” with John Mayer. At the beginning, his vocals are barely there, and then fast forward to the end when the performance is interrupted when the bumper music (a pre-recorded track that plays right before cutting to commercial) accidentally misfires.
Miranda Lambert Miffed at Eric Church
Was it me, or was Miranda Lambert choking back extreme disappointment when the powers that be at the ACM Awards decided to have her announce Eric Church as the Album of the Year winner? Though Eric Church and Miranda officially made up, bad blood started between the two and Miranda’s husband Blake Shelton when Eric Church told The Rolling Stone:
“It’s become American Idol gone mad. Honestly, if Blake Shelton and Cee Lo Green fucking turn around in a red chair, you get a deal? That’s crazy. I don’t know what would make an artist do that. You’re not an artist. If I was concerned about my legacy, there’s no fucking way I would ever sit there [and be a reality-show judge]. Once your career becomes something other than the music, then that’s what it is. I’ll never make that mistake. I don’t care if I fucking starve.”
Miranda also has a reality show past, and also took offense. Eric Church eventually clarified his statements and apologized to Miranda, but never apologized to Blake. It seems pretty evident all that history was running through Miranda’s mind when she announced the award with a curt delivery and phony smile. (at the 1:40 mark)
The Band Perry Bad Performance / Pre-Recorded Track?
By far the worst performance of the night, and one of the worst I’ve seen in award show history was perpetrated by The Band Perry. Focused on exuding a ridiculous amount of energy in their overly-gesticulated choreography instead of the integrity of the performance, lead singer Kimberly Perry forgot to breathe. She was out of breath before the song even began in earnest and turned in an awful, breathy, uninspired and out-of-tune performance that would even make Taylor Swift wince.
But even more interesting is if you watch the performance more in depth, it’s clear they’re playing to a pre-recorded musical track. At the very beginning, you see the drummer strike a cymbal before the music starts, but you don’t hear it. One Perry brother is holding a bass, but is too busy fist pumping at the beginning to play it, even though you hear bass guitar. Maybe there’s a bass hidden on the backline (but they all look like regular electric guitars), but the other Perry brother is holding a mandolin and numerous times you see him playing it, but hear nothing, while other times hear mandolin, when he’s clearly not playing. Playing to a pre-recorded track is one thing. Acting like you’re playing by carrying the instruments is clearly trying to pull one over on the viewer. The Band Perry’s performance was the biggest embarrassment on a night of many.
You want to get the majority of country music critics singing your praises? Put out a traditional country album through mainstream channels. Most critics got into the business because of a passion for true country, and after having their ears burned out by the latest singles from Florida-Georgia Line and Luke Bryan, anything with the most minute measure of twang will get the Nashville press corps reaching for their Thesauruses to shower you with plaudits. Meanwhile down here in the independent trenches where twang is a given, you’ve got to have a little more than just the right sound. The music and words must still ring true. Luckily with Ashley Monroe, they do.
First, kudos are probably warranted for Miranda Lambert. Whatever one’s feelings might be on her, for a solid top 3 lady in country music to take on a side project like The Pistol Annies speaks to her passion for the music, and specifically the music of fellow Pistol Annie Ashley Monroe. Ashley still may have made this record without the Pistol Annies bump, but there may have not been nearly as many people paying attention to it. And kudos to Ashley for staying within herself on Like A Rose. She could have taken her Pistol Annies exposure and cashed out with a career in country pop.
Like A Rose is a short and sweet, classic country album that encapsulates Ashley Monroe’s skills as a formidable traditional country songwriter with a sweet voice embellished with sincere pain. All the songs on Like A Rose were written by Monroe, but they all include collaborators as well, most notably Vince Gill who is also the executive producer of the album, and Guy Clark who co-writes the album’s namesake track, “Like A Rose.” This album speaks to a rough and troubled life, with some of the songs taken verbatim from Ashley’s past. The sincerity of her music is palpable. The very first lyric on the album, “I was only 13, when daddy died,” parallels Ashley’s real life experience, and however much fiction plays into the material for the rest of the album, you tend to believe every word.
The approach to Like A Rose is traditional, but light in the way the rhythm is laid back and some of the textures are ambient, making it in some respects a cross between country and Americana, broadening the appeal of the record. By only including 9 tracks, each offering benefits from a potency of content. This album never tires. At the same time, as a songwriter dyed in the Music Row ink, (granted, in circles with a more of a traditional leaning) there is a formulaic feel beneath some of the songs that make you say, “I’ve heard this song before, just in a different way.” You get this feel from songs like “Used” and “Two Weeks Late.” The wild-eyed “Weed Instead Of Roses” once again reinforces the theory that country has finally picked up that marijuana is good music marketing and now the subject will permeate the genre.
Nonetheless, the wit of a song like “She’s Driving Me Out Of Your Mind” and the simple enjoyment of “Monroe Suede,” or really the simple enjoyment of all of these songs can’t be denied. Even the duet with Blake Shelton “You Ain’t Dolly (And You Ain’t Porter)” is pretty good. Blake may be a turd burglar, but nobody ever accused him of not being able to sing. His tone and cadence fits the classic style very well.
Where Like A Rose may be a little bit light on the deep substance for songwriting snobs, or short on the hard country sounds some classic/traditional fans enjoy, Ashley Monroe’s place as a Pistol Annie with a major label deal make the prospects of this music wetting the whistle of passive country music fans for a more authentic country sound are very promising. Male-driven pop country continues to get worse as every moment passes in country, but a promising crop of bold female artists continue to impress at every turn as they try to steer country in a more substantive direction. Ashley Monroe is at the very top of that crop of beautiful, bold, and talented women.
1 3/4 of 2 guns up.
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Tonight is the annual Academy Awards, arguably the biggest, most important night in all of American entertainment, if not in the entire world. And during the presentation, and in the list of nominees and winners, you will not see a parade of the movie industry’s most flashy personalities. You won’t see anybody judged on looks or popularity. You will not see the most commercially-successful endeavors given exclusive billing and opportunity for accolades. No, what you will see is the best and the brightest of the industry highlighted based mostly on the creativity and artistic integrity of their works.
It’s not that The Oscars completely ignore commercial viability or success. When a movie like Titanic or Lord of the Rings emerges, the industry recognizes the importance of these legacy films and gives them the proper nods, but not without regard to the artistic integrity of these movies or the talent displayed by the actors in them. Film understands that the most financially-successful movies have their legacy cemented by the strength of their box office numbers, and don’t need to be buffered by accolades better suited to those films that did not enjoy as much commercial attention. And this does not just go for The Oscars. From The Golden Globes, to Cannes, to a myriad of smaller film festivals all across the country and world, in the film industry there is an insistence on finding the most important works in a given year, and shining the spotlight on them.
Contrast this with the music industry, especially the country music industry that is flush with award shows now to the point of being redundant, and the differences are nothing short of embarrassing. In the film industry, low-budget and artistic films regularly find their way to the very top of the award show itinerary. In music, low-budget and independent albums, songs, and artists are completely shut out in favor of the same cloistered group of franchise-caliber names on an annual basis.
A perfect example is country music’s dilemma of finding a 5th female for the “Vocalist of the Year” category at both this CMA Awards and the ACM Awards for the 2012 cycle. The CMA’s, struggling to find a name of similar caliber to the top 3 ladies of Carrie Underwood, Miranda Lambert, and Taylor Swift, reached completely outside of the country world to nominate Kelly Clarkson. The ACM’s also drew a blank beyond Martina McBride as a 4th candidate, and gave the nod to Kacey Musgraves, who despite being an interesting up-and-coming name, hasn’t even released a major album yet.
Meanwhile in 2012, a consensus built throughout music–from The Rolling Stone, to CMT’s editorial chief Chet Flippo, to right here on Saving Country Music–that Kellie Pickler’s album 100 Proof was an album worthy of accolades that balanced artistic integrity and commercial sensibilities. But Kellie and 100 Proof went completely ignored by the award shows, even though they were actively looking in the ranks of unknowns and outside the genre for a female name to fill out their candidate list. Along with the disparaging current outlook this paints for females in country music, it also illustrates the pull the industry has on what are supposed to be independent awards. The reason Kellie Pickler was not nominated is because she enjoyed no support from her label; a factor that is virtually superfluous in the movie world.
The point of awards is to promote the industry they cater to, and if they only consider commercial success, they become a self-fulfilling prophesy and feed a cloistered, creatively anemic environment. When the Academy Awards “Best Picture” nominees are announced, each film gets a sizable boost that helps re-focus the industry on the artistic integrity of the medium. A couple of years ago, The Oscars increased the amount of “Best Picture” nominees for this reason and others.
The Grammy Awards of the music world tend to include a bit more focus on artistry compared to the genre specific shows, but Oscar night every year is a reminder of how behind the music industry is compared to its peers in putting its best foot forward, and promoting the brightest talent.
What in the world is Blake Shelton thinking doing some tired, crusty, old-sounding country shuffle with an artist nobody has heard of? Is he trying to apologize to all of the “Old Farts and Jackasses” he insulted last month? Is it some sort of PR spin control thing? Because the only people who will ever listen to this song are Geritol-drinking old farts who yell at kids for playing on their lawn and and watch 60 Minutes before going to bed by 8 PM. And as Blake Shelton said, and I quote, those people “…don’t buy records anymore, jackass. The kids do.”
So this song talks about Dolly Parton and Porter Wagoner, but do people even know who Porter Wagoner is anymore? And more importantly, does anybody care? They barely even know who Dolly Parton is, and that’s mostly because of her boobs. People don’t even know who Ashley Monroe is for that matter. The only reason I know of her is because she’s in that Pistol Annies thing with Miranda Lambert, and I guess that’s how she landed such a huge country star to duet with her that oh yeah, happens to be Miranda’s husband. Coincidence? I think not. I’m sure Blake did this stupid song in exchange for not having to do a weekend’s worth of honey do’s around casa Lambert. If anybody was wondering who really wears the pants in that relationship, look no further than this song.
Seriously, this song sounds like something my grandparents would listen to. It would go great with a bowl of Werther’s Original. And in it Ashley says, “You’ll probably see me country singing on The Voice someday.” Oh honey, don’t get too full of yourself. Miranda may have twisted Blake’s arm to perform on your little album, but NBC will never allow all those fiddle and steel guitar breaks in prime time. This isn’t 1975. You said it best in the song when you said, “I’m the reigning queen of Karaoke night.” And that’s all you’ll ever be if you keep writing and singing these outmoded, irrelevant, and out-of-touch tunes that name drop country performers that nobody cares about anymore.
Now that Blake Shelton is the reigning Country Music Association Artist of the Year, he has to be more careful about what he puts his name on. Since he gets to decide the direction of country music, he can’t be putting out songs like this or people are going to start thinking this is what country music is supposed to sound like. Can you imagine this song on the radio? Ha! Country music must evolve, and “You Ain’t Dolly” goes totally in the wrong direction.
1 1/2 of 2 guns up.
Blake Shelton’s now notorious comments about “old farts and jackasses” were culled from a larger commentary where Blake unilaterally declared himself worthy of deciding the direction of country music, warranted by his recent wins at country music award shows. Well if his latest single “Sure Be Cool If You Did” is any indication, the direction Blake would like to take country involves poorly-constructed Ebonic-laden gobbledygook club speak, set to digitally-constructed dance club beats waffed with Axe Body Spray like the tender skin of a recently waxed scrotum.
See, the problem is that Blake Shelton won those awards off of the strength of his franchise built from other avenues unrelated to country music, specifically his judgeship on NBC’s smash reality singing contest The Voice. Like a rising star in NASCAR these days, it’s not only important how well you drive, but if you can remember to hold the label of your energy drink out when being interviewed by the pit road reporter. Without one platinum album under his belt, and without being either a songwriter or musician of any record in his own right (I’ll give you “Over You” despite Miranda Lambert pulling the heavy weight no doubt), the only way Blake Shelton could ever assert any sonic leadership in country music would involve the songs he selects to cut. And in the case of “Sure Be Cool If You Did,” Blake Shelton chooses poorly.
Sure the song will do well commercially, but the opening line “I was gonna keep it real like chill like only have a drink or two” shows that Blake is not ready to lead the country music troops into battle, he’s cowering from the fight by releasing a song that is a cry for relevancy. The chorus of the song rises fairly well, and even has a decently-orchestrated guitar solo in one phrase. But the lyrical hook is flat, and the switching back and forth between an electronic dance club beat and live drums is not a progressive element, it is problematic in how it creates a confusion of mood. Later when Blake sings about a “moonlit Chevy bench seat” and a “little back road” it doesn’t forgive the song’s non-country transgressions, it makes them worse and more obvious, while loading the song down with country checklist baggage as well.
“Sure Be Cool If You Did” wouldn’t be terrible if it just stayed in its element of a slow, dance club song. But just like many current pop country songs, it simply switches urban artifacts for rural ones to qualify it as “country,” creating dissonance between subject and sonic style.
Who is Blake Shelton? What is he? With his first hit “Austin” he would seem to want to be taken as a serious artist. With songs like “Hillbilly Bone” and “Kiss My Country Ass” you would think he’s wanting to be a hard-driving “new Outlaw.” And then with “Sure Be Cool If You Did” he seems to be trying to be a soft-core, pop country sex symbol. That’s the problem with Blake. He’s never led himself in any specific direction or made a stamp through his music in any way. So how do we expect him to accomplish this for the entire genre? He’s an amalgam of milktoast influences steered by executive decisions on how not to diminish the cash value of a celbrity franchise. Even “Sure Be Cool If You Did” feels like Blake’s answer to country rap, without having the man parts to actually cut a country rap song.
Leadership takes boldness, courage, and many times, innovation–things Blake Shelton has never displayed, and is certainly not displaying here. “Sure Be Cool If You Did” is eepish and safe. Instead of leading the charge of country music up the hill against the forces of irrelevancy, Blake’s in the rear with the gear, holding a pristine white flag close to his chest, ready to give it a wave at the first sign that things look grim.
1 3/4 of 2 guns down.
The announcement was made when fans “unlocked” Luke Bryan’s name as part of a Twitter campaign by the ACM’s to rack up 25,000 tweets. Reba McEntire has been the female host of the ACM Awards for the last 14 years, co-hosting the event with Blake Shelton for the last two. Just like the superstar hosting duo of Brad Paisley and Carrie Underwood for the CMA Awards, fans enjoyed Blake and Reba’s authentic chemistry and oddball humor. Reba decided to take this year off to focus on her new sitcom “Malibu Country.”
When it was revealed Reba would no longer be co-hosting and a successor for female co-host had been picked, many surmised it would be Blake Shelton’s superstar wife Miranda Lambert. Yesterday Blake Shelton explained how they came to pick Reba’s replacement.
Those are big shoes to fill and I didn’t want to do this thing by myself. To find somebody equal to that level of stardom, we pretty much gave up. So, we set the bar down a little bit lower. We decided we could find somebody that is just good looking, and we fell short on that goal. So starting over, we set the bar a little bit lower and finally thought, ‘If we can just get somebody that can read.’ This is country music, (so) that’s narrowing the field down.
Apparently Luke Bryan was the right woman for the job.
Look, I’m a good old-fashioned red-blooded American male. I like myself a delicate, supple breast, or a perfectly-formed apple butt. And the beautiful shape of a woman intermixed with good music is something that makes me thankful for being alive. But somewhere in the last year or so, country music crossed that line from being the last bastion for respect of beautiful women in American popular culture, to hanging out in the gutter with the rest of the vermin, making videos of venereal-infused floozies dry humping flashy vehicles in the classic vein of tasteless, materialistic, shallow-minded rap imagery.
The tradition of proud, empowered, beautiful women in country music runs deep. Their strength is what made them sexy. And unlike rock and roll and hip hop, the popularity of women in country has run parallel with the men throughout time. The Carter Family, Patsy Cline, Dolly Parton, Tammy Wynette, Loretta Lynn, all the way to today with Miranda Lambert and Taylor Swift. But the problem is not the women of country not respecting themselves, the problem is the men not respecting the women, and an apparent endless supply of hussies willing to strut it for shitty pop music.
Take the video for Dustin Lynch’s stupid new song “She Cranks My Tractor” (yeah, right, we’ve heard this one before, haven’t we?) Since this song has so much nothing, they drag some slut out of a strip club to have sex with farm equipment to keep you engaged. This isn’t music, this is material for 14-year-old boys to masturbate to.
My favorite are these flocks of bikini-flaunting chicks with their arms flailing above their heads, like in the Bucky Covington / Shooter Jennings douche fest “Drinking Side of Country”. If this is the country, then where are all the ugly people? I can see some producer telling a poor girl, “Hey sorry, I can see a very slight roll of chub spilling out over your cut-offs. Go purge for two weeks and come back.”
I think Luke Bryan is where this all started, or possibly Kid Rock when he infected country like a herpes outbreak with his cross-genre shallowness. But Luke Bryan was the one that had dancers doing straight up strip tease renditions on the 2011 CMA Awards. And isn’t it ironic how Luke Bryan surrounds himself with so many hot women when he’s so obviously, indisputably, helplessly, pink flamingo, Siegfried & Roy, Fire Island…happy? I mean watch him do his happy dance.
I don’t want to come across as some uptight fuddy duddy. The fact is you can go anywhere on the world wide internet and affix your eyeballs on frolicking trollops. What made country music special and distinct is it avoided this saccharine, sexpot low-brow shit. These people are missing the point that the best way to deploy sex is to leave more to the imagination. That is why America fell in love with Marlyn Monroe, and why America is currently in love with Taylor Swift. Nothing about the women in these videos is intriguing. There’s no reason to come back for more. Like the songs, the videos, and the careers of these artists, they are forgettable. And the devaluation of women in country music that this causes is what is most troubling.
Pending approval by federal regulators, the Disney Corporation has secured a deal to buy country music for $10.5 billion dollars. The deal apparently would include all of country music’s major labels and their rosters of artists, institutions like the Country Music Hall of Fame and The Grand Ole Opry, award shows like the CMA Awards and the ACM Awards, and the naming rights to the now defunct restaurant chain “Kenny Rogers Roasters.”
“This is just the latest step in our efforts to completely monopolize every element of American culture by buying it out from under the people who created it and then selling it back to them in the form of programming on our vast media empire and on special-edition Bul-ray DVDs,” says Disney spokesman Phil Frankenfurter. “We look forward to activating synergies between these two landmark American institutions, and doing what we can to make America one big homogenous culture, free of any regionalism and diversity from anything not presented to them by mainstream corporate media.”
Disney, who already owned ABC, ESPN, as well as studios and radio stations all across the country, and 14 different theme parks all around the world, announced just last week they were buying the complete Star Wars franchise from George Lucas for $4 billion. They’re calling the acquisition of country music the “final puzzle piece in creating an American mono-culture.”
Country music, an institution the has been around for roughly 70 years, became popular throughout America in the 50′s through the radio program “The Grand Ole Opry” broadcast on WSM-AM out of Nashville.
“For years, country music has been an attractive acquisition for Disney, but the timing was not right,” continues Disney spokesman Phil Frankenfurter. “From the 80′s, even into the 90′s, country’s listenership dwelled mostly in older Americans who did not fit comfortably into Disney’s demographic landscape. But in the last decade, especially the last couple of years, with country getting much younger, the timing seemed right to make this partnership. Nobody can deny that right now the hottest thing in country is Taylor Swift. And who listens to Taylor Swift? Adolescent and teenage girls; the exact people who are at the core of Disney consumers.”
Though Disney is being hush about most of its plans for country music, some of the first changes consumers can expect to see are the appearance of the well-recognized Mickey Mouse ears being added on the marquees of certain country music landmarks like The Ryman Auditorium. Disney is also developing a “Country Music Princess” franchise, swapping Cinderella, Snow White, and Ariel for Taylor Swift, Carrie Underwood, and Miranda Lambert.
“I love having Disney raise my kids,” says housewife Angela Barnum of Oshkosh, Wisconsin. “With great role models like Lindsey Lohan, Miley Cyrus, and Brittney Spears coming from Disney’s roster, I love the free time and piece-of-mind Disney gives me from having to raise my kids myself.”
Kenny Rogers, who was recovering from his latest plastic surgery procedure, could not be reached for comment.
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