It’s all R&B. Like, all of it. If it’s American and mainstream, chances are it’s better categorized as R&B than anything else. It doesn’t matter what genre of music you’re talking about. Of course R&B sounds like R&B, but so does hip-hop these days. Modern rock? Yeah, it’s pretty much just R&B. Country music? That may be the most convincing case.
Search Results for: mono-genre
When it comes to mixing music forms with no regard for the autonomy or integrity of the respective genres, Latin rapper Pitbull is popular music’s prime culprit. As evidenced in the massive hit “Timber” performed with pop star Ke$ha, his willingness to take the boiled-down shuck of just about every genre and mash them together for maximum Top 40 appeal has no bounds.
“Maybe domination isn’t quite a victory. Maybe everpresence isn’t quite a virtue,” Questlove ponders. “Once hip-hop culture is ubiquitous, it is also invisible. Once it’s everywhere, it is nowhere. What once offered resistance to mainstream culture…is now an integral part of the sullen dominant.”
For the first time ever, two high-powered country and rap acts will tour together, as fast-rising country duo Florida Georgia Line will be paired up with hip-hop artist Nelly in an upcoming summer tour of American Ballparks. The cross-genre pairing first happened when a remix of Florida Georgia Line’s smash hit “Cruise” featuring Nelly was released to radio in April of 2013.
All of a sudden hip-hop influences 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. How did country music get here?
Aaron Lewis, Accidental Racist, Ashley Monroe, Blake Shelton, Boys 'Round Here, Brad Paisley, Brantley Gilbert, Colt Ford, country rap, Cowboy Troy, Cruise, Darius Rucker, Dirt Road Anthem, Florida Georgia Line, George Jones, Jason Aldean, Jawga Boyz, Joe Diffie, Kid Rock, Lil Wayne, Limp Bizkit, Linkin Park, LL Cool J, LoCash Cowboys, Ludacris, Luke Bryan, Lynard Skynard, Miranda Lambert, Moonshine Bandits, Nelly, Pistol Annies, remix, Sheryl Crow, Staind, Struggle, T Pain, Taylor Swift, Tim McGraw, Warren Zevon, Waylon Jennings
The comments by Marcus Mumford were made to Rolling Stone in a feature posted today that includes comments from all four members of the UK-based roots rock band. A recurring criticism of Mumford has been that many of the songs on their two albums Sigh No More and Babel sound very similar. According to front man and main songwriter Marcus Mumford, a new direction could involve hip-hop and rapping.
The Mono-Genre Theory in short states that all popular music is coalescing into one big genre where influences and styles from country, rap, rock, blues etc. coexist without any true lines defining their differences. At the end of every year when the sales numbers are released by Nielsen Soundscan, it usually reveals evidence of this mono-genre coagulation. 2012 was no different.
When I first proposed the theory that all popular music was coalescing into one big mono-genre where even the two traditionally polarized genres of country and hip-hop would be living side by side, even I didn’t think the conversion would happen so quickly and be so indisputable. Looking at country music, the top albums, the top songs, and the top artists all have ties to the merging of all popular music.
A couple of weeks after Jason Aldean’s country rap “Dirt Road Anthem” went triple-platinum, Taylor Swift was in Nashville shooting a video for an upcoming single “Both of Us” with hip-hop artists B.o.B. to be featured on B.o.B’s upcoming album Strange Clouds. Swift first shared the spotlight with the Georgia-based rapper in 2011 during the Dallas leg of her “Speak Now” tour.
With Kid Rock hosting the CMT Awards, with country rapper Colt Ford performing, and with Jason Aldean and Ludacris closing the show out with a rap song, you can make the case that 15%-20% of the 2011 CMT Awards was either rap or rap inspired. I expect those percentages to increase until the number gets to 50%. Then the mono-genre will be fully realized, and the death of contrast will be complete.
In the last few years, cataloging the dizzying amount of names that have been associated with music that sometimes is fundamentally the same has become almost impossible, while true sonic variations on the 12 traditional genres abound.
Bogged down arguments about who is what, and what to call it feel so tired, unproductive, and irrelevant, and as the outmoded systems of music distribution and radio promotion continue to erode, classifying your music in one of the traditional 12 genres is becoming less necessary. . .
Chris Brown, Colt Ford, Darius Rucker, Jamey Johnson, Jason Aldean, Justin Bieber, Kevin Fowler, Kid Rock, Lady Antebellum, micro-genre, mono-genre, Rascal Flatts, super-genre, Taylor Swift, Tootsie's Orchid Lounge, XXX, Zac Brown Band
The parade of new lows coming from Music Row in Nashville just keeps coming folks. The pre-Holiday period of 2010 might go down as the worst ever. The latest low blow comes from Jason Aldean, whose single off his album released today called My Kind of Party is a straight up rap song.
Hey mom, look! I made Texas Monthly! …wait, what? Well you know what they say, always attack up. I just wish that if they were going to devote nearly their entire article to reefing little ol’ Saving Country Music in the nuts when I was nothing more than a bit player in a much bigger issue, they could have at least put my name in the headline.
Context is everything here, and it’s critically-important we regard what the end game with this song is. The impetus for Carrie Underwood’s “The Champion” is to be a TV theme song for the Super Bowl on NBC. But I don’t know folks. As was expressed recently, we need Carrie Underwood in country right now, but not necessarily this version.
The announcement of the main stage lineup at the Houston Rodeo is an annual head scratcher for many across the Lone Star State and beyond who actually pay attention to the music native to Texas and Houston, and wonder why one of the biggest events in Texas all year chooses to import most of its talent from out of the state.
I like the idea of Lindsay Ell. A badass guitar-slinging chick that can play her own leads and write her own songs is something that could really spice up the boring mainstream country music scene, and add a shot of adrenaline into the effort to give more women artists attention in the top reaches of the industry.
Welcome ladies and gentlemen to the 2017 installment of Saving Country Music’s Grammy Awards LIVE blog. It promises to be an interesting year with one of SCM’s own homegrown artists in Sturgill Simpson up for two of the biggest awards on the night (Best Country Album, and Album of the Year), as well as plenty of opportunity for snark and commentary.
I remember saying it myself when the Carolina Chocolate Drops first came on the scene. Excellent band, and great to see some diversity represented in country and Americana music in a way that illustrates the role African American’s played in creating roots music. But there was something a bit off about watching a black band playing for a distinctly white audience.
To try and illustrate why it is important to keep the influences of America’s founding genres pure, I’ve always used one tried and true illustration. And to prove that this illustration precedes Beyonce at the CMA Awards, instead of presenting it anew here, I’ll transcribe it from a recent podcast from Wide Open Country.
Clearly this trend of cross genre collaborations is only going to deepen, so with a servant’s heart and a sincere desire to help the collaborators and interlopers with their “country” efforts, Saving Country Music has constructed a pocket reference field guide to help these cross-genre collaborators navigate through their country music experience.
Despite an incredible amount of publicity for the CMA Awards through ABC, including high-profile appearances all week on the network’s morning show Good Morning America, television ratings for the show took a tumble in 2015. High profile appearances by non country stars such as John Mellencamp, Fall Out Boy, and even the current king of pop Justin Timberlake, could not salvage a night of growth in viewership.
Cumulus Media’s NASH concept wants to become the one stop shop for corporate country consumers, and the country industry is more than willing to play ball as long as the company spreads its capital around to launch grandiose ventures and continues to play its artists on the radio. But there’s a problem. A big one.
The “Benedict Arnold of Country Music,” a.k.a. Zac Brown, sat down recently with the always-complicit Rolling Stone Country to participate in yet another puff piece, and shoved his foot so far down his throat, Cheryl Tiegs would be colored impressed by his the once country star’s incredible pliability.
Didn’t put forth the effort to watch “CMA Fest: Country’s Night to Rock” Tuesday night (8-4), with performances from Florida Georgia Line, Luke Bryan, Brett Eldridge, and hosted by Little Big Town? Well apparently you’re not alone. But a ratings decline for the ABC broadcast is not all country should be worried about.