Ronnie Dunn’s “Peace, Love & Country Music”
To do Ronnie Dunn and his new album Peace, Love & Country Music justice, one doesn’t need to write an album review, one needs to do something in between an in-depth psychoanalysis and a diagramming treatise. There’s so much going on here, so many tentacles to the current Ronnie Dunn story, and ones that reach far beyond the music itself, that it’s hard to know where to even start, or to end for that matter.
I guess the first place to start is to try and set the context of just where Ronnie Dunn is in his career, and where he came from. Because Brooks & Dunn was so overshadowed in their day by Garth Brooks, George Strait, Alan Jackson, and the other solo artists of the 90’s, and because his name was only given half credit as a member of a duo, it may be difficult to appreciate just what a mark Ronnie has put on country music. But his impact has been nothing short of towering. Brooks & Dunn sold 30 million records. Their signature album Brand New Man sold over 6 million alone. They had 30 #1 singles. They won the CMA for Vocal Duo of the Year a remarkable 13 out of 14 years between 1992 and 2006, and won Entertainer of the Year in 1996. Their career and impact were historic, and Hall of Fame worthy.
And now, Ronnie Dunn is a defector. He is one of the leading voices of dissent against the institutions presiding over American country music. He has created a loyal and rabid following of tens of thousands of disenfranchised music fans. On a weekly, and sometimes daily basis, Ronnie Dunn is decrying Music Rows ways, specifically criticizing the exclusivity of radio, the stamping out of creativity by record labels, and the way the business treats its talent, young and old.
Think about it: This is one of Nashville’s biggest bread winners of the last 25 years, and he’s now a turncoat. The quotes from Dunn and the topics he’s broached about Music Row’s debauchery are so numerous, I couldn’t even start to delve into them and do it all justice. But long story short, this is a guy that fought Nashville’s wars for a nearly a quarter of a century, and now he’s fighting against them. “I did it for 20 years, and I learned all it was was the mainstream way of doing things was just where ideas go to die these days,” Dunn said in a recent interview. “Mainstream is the road to mediocrity. And it took me 20 years to realize that. But it got to the point to where everything we would come up with to do as maybe an idea or something we thought was fairly innovative, we would get cut off at the pass. So it’s time. It felt like time to start to try to do different things.”
And doing things different is what he’s done. Ronnie Dunn is a completely independent artist now who owns his own record label called Little Will-E Records. During the CMT Awards in Nashville last summer, Dunn set up an encampment on lower Broadway guerrilla style, and as the throngs of people poured out of the Bridgestone Arena, Ronnie played three of his new songs off the album on the roof of a nearby building as a promotional stunt. No permission, no permits. He even got in trouble with the Opry for shining a light banner on the roof of the Ryman asking “Who’s Ronnie Dunn?” Depending on your perspective, Dunn had either lost his mind, or finally found it and come to the side of believing in music over money.
All of this was great. Here was one of mainstream country’s biggest stars spouting the same type of rhetoric that one may find on Saving Country Music on a regular basis. Then there was news he was writing songs and recording with none other than Texas music guru Ray Wylie Hubbard. Everything was setting up quite nicely for the release of Ronnie Dunn’s first independent record to be a sort of musical insurrection perpetuated by one of Nashville’s own, with reverberations reaching who knows how far into the dug in foundations of Music Row.
But then one little pesky problem materialized just as it seemed like Ronnie Dunn might be the chosen one we’d all been waiting for to lead country music out of its current wasteland. Despite all of Ronnie’s talk about how unjust it was that classic country no longer had a place on country radio, and how aging talent was getting pushed aside for young pups with no respect for the genre and playing music that was more indicative of rock than country, here comes Ronnie releasing songs that sound exactly like the music he’s criticizing.
One of the first songs we heard from Peace, Love & Country Music was called “Country This”—a complete hard rock guitar-driven bro-country mega anthem with ultra-stereotypical laundry list lyrics and absolutely no story or soul. I mean this thing was terrible. And I wasn’t the only one all of a sudden taking a second look at what Ronnie Dunn was doing. “Kiss You There” was another one of Peace, Love & Country Music‘s first offerings, and despite affording a little more story, it almost seemed to be walking the edge of country rap, with little EDM moments peppered throughout the song.
However promising Ronnie’s off-the-stage rhetoric had been, to say his music wasn’t syncing up with his words is a gross understatement. Remember those songs he wrote with Ray Wylie Hubbard? Interestingly one of them showed up in the repertoire of Sammy Hagar, called “Bad On Fords and Chevrolets“. Some in Ronnie Dunn’s camp wanted to revolt, but Ronnie calmed nerves when he seemed to allude that he was using these first singles almost as Trojan horses. He told everyone he wasn’t wasn’t abandoning the revolution, but that he needed to give radio one last shot, maybe to prove that even when he put out songs that were ripe for country’s new format, they would still be ignored if you weren’t in the good graces of Music Row’s major labels. “Mainstream radio does not dictate the full flavor of a multi-song CD,” Dunn assured.
So after many months of spirited discourse from Dunn through Facebook and interviews, the confounding first few tracks, we now finally get to hear the full breadth of Ronnie’s independently-released record. And what do we get? Pretty much what we got in the run up: crossed signals and conflicting messages, though a few good songs here and there.
It’s not that Ronnie Dunn is trying to take advantage of the growing anti-Nashville sentiment, similar to someone like Eric Church and other “new Outlaws” where the rhetoric seems to be nothing more than marketing and a distraction from the music. It seems much more innocent than that, like Ronnie has spent so much time residing within the system and was raised so deeply within its inner workings, that to Ronnie this record and many of its songs are groundbreaking. But when you bring a more global, a more informed ear to the project—one that has truly been versed in independent country and country protest music—it seems almost like parody.
Meanwhile the contradictions are nothing less than striking. Peace, Love & Country Music has a straight up protest song in it called, “They Still Play Country Music in Texas”.
I turn on the radio they’re mixin’ heavy metal with twang People on TV doin’ anything for fame I’m not one to cling to the past But some of this new stuff burns my ass Thank God and Willie some things stay the sameYes, awesome! Let’s all pump our fists and praise Ronnie Dunn for speaking up! … except that numerous songs on this album are “mixin’ heavy metal with twang,” exclusively. I mean, that’s the whole premise some of these songs are built around.
Ronnie Dunn has all the right sentiments, all the right ideas and philosophies. But when it comes to his actual sonic output, he needs guidance, and guidance in a big way if the message is going to match up with the music. He needs to spend a weekend with Marty Stuart or Vince Gill. He needs someone to walk him through their record collection, explaining to him how we got here. He needs to see Sturgill Simpson at the Station Inn. Though I understand many from the mainstream perspective will hear this album as rebellious, forward-thinking, or even groundbreaking, the simple fact is that it isn’t. It is still a very, very mainstream album. Maybe it’s a mainstream album with good moments, but it’s still one that is cast in predictable turns of phrases and phrasing, and well-worn tones and textures; one that panders for attention, relevancy, and radio play.
As cool as it is to get a protest song like “They Still Play Country Music in Texas” from him, I wish it wasn’t on the album because the hypocrisy inherent in it drags down the rest of the project. Songs like “Country This”, “Cowgirls Rock & Roll”, and “Thou Shalt Not” are every bit dependent on their rock guitar riffs. Hell, “Cowgirls Rock & Roll” is one of the worst “country” songs I may have ever heard, no different than a single you’d hear from Brantley Gilbert or Jason Aldean, with Auto-tuned inflections on the vocal track indicative of modern Jerrod Niemann or Tim McGraw.
And look at these lyrics:
Que Paso Hey Pard Yo Yo Play Back In Black Set Em Up Joe… Goth Black Ponytail Ink On Her Arm Out Here In The Way Back Doin’ Things She Shouldn’t Be Doin Like That Ghost Of Hank Still Hangin On Snoop n Willie Keep Singin That Song Brown Jar Liquor Got A Shotgun Kick Got It Goin On Out Here In The SticksThen again, there’s some very worthy tracks on Peace, Love & Country Music. The first two songs “Grown Damn Man” and “Cadillac Bound” start off the record right. “You Should See You Now” and “Wish I Smoked Cigarettes” are excellently written, and no matter what Ronnie Dunn is singing, it’s hard to escape the fact that he still holds one of the best voices in the business, and came from a time when you couldn’t fake it, or let your fame ride off a pretty face.
Something else that seems to hinder this album is that it took so long to go to print. Ronnie Dunn seems to be in the precarious position of trying to maintain his mainstream relevancy, while at the same time come to grips with the new realities of his career. He wants to lead a revolution, but he wants to hold onto the last vestiges of the spotlight for one last moment. But you can’t have it both ways. There are songs on this album that could have been worthy of radio, whether it’s because they’re good enough and would elevate the format, or because they’re bad enough to be radio hits in country’s current climate. But neither will be given a chance because of all of Dunn’s sabre rattling off stage. Dunn’s plan came off as half baked, and in need of some guidance and perspective from people who really understand where the trends in music are headed.
I like Ronnie Dunn’s spirit, and I feel like there’s a kinship in his fight. And make no mistake, there are many, many country music fans who are listening to his every word about what is happening in country, because his words are rooted in truth. And because of this and a few pretty good songs, I can’t give it a negative review. But don’t get bogged down by the bravado surrounding this album. If you simply listen, you will find it is an album addled by stark contradictions.
One gun up for some good songs and an independent spirit.
One gun down for some very, very bad songs, and a conflicting message.
hoptowntiger94
April 10, 2014 @ 12:33 pm
I can’t add much more to that excellent review. You gracefully nailed it, Trig.
I am so disappointed by this album of contradictions and Dunn’s desperate attempts of chasing younger bro tail. This album has me questioning by loyalty to Brooks & Dunn for all those years. I was the biggest B&D fan – saw them in concert 13 times between 1996 and 2008. A picture of them and I hang in my room. But, I can’t help but listen to some of their hits now and wonder if B&D is to blame for the current landscape of bro country and laundry list songs. Listen to ‘Hillbilly Deluxe’! I’d murder Luke Bryan or FGL for recording that song today.
‘Cowgirls Rock & Roll’ is nothing more than a sad, rehashed version of ‘Hillbilly Deluxe’ right down to the background girls’s ‘ohhh, ohhh’s’.
I get Dunn might have to flush these kind of songs out to get to songs like ‘Grown Damn Man’ and ‘I Wish I Still Smoked Cigarettes,’ but hand them off to other artists.
What a waste of a voice and all the anti-establishment rhetoric. Some artists walk the walk, not talk the talk (or something like that).
I’m just disappointed ….. bring on Bob Wayne and Old 97’s releases …. quickly, please!
Bigfoot is Real (also has "Cowboy" tattooed on his arm)
April 10, 2014 @ 12:53 pm
Jeeze Trig you sure have to listen to, read, and watch alot of crap for this blog. I will say “pretty good” isn’t exactly a ringing endorsement and maybe more of a half gun up kinda thing? Brooks and Dunn always sucked anywho so does anybody really care this one cheek of a complete butt is doing anything? But thanks for the warning.
Trigger
April 10, 2014 @ 5:46 pm
This may seem like a strange album for me to review, and normally I don’t review mainstream albums unless for some reason they’re exceptional cases. In this case, with all the talk out of the Ronnie Dunn camp, I couldn’t ignore it. Just like with Eric Church, it would be great to all agree and join forces to fight Music Row. But the music must come first before the message and unfortunately Ronnie Dunn didn’t deliver. But make no mistake about it, there are many, many people listening to Ronnie, and what he’s preaching is a very anti-mainstream, anti Music Row gospel.
Nick
April 10, 2014 @ 1:24 pm
I never could quite get into Brooks & Dunn. I have seen them live, and I’ll say they’re much better in that capacity. I feel about Ronnie Dunn the same way I do about Blake Shelton: Good voice, plenty of talent, but shallow lyrics and goofed up songs ruin it for my every time. I mean that musically by the way, I’m sure I’d much rather hang out with Ronnie than Blake.
I could say this about a lot of guys, but if Ronnie Dunn put out an honest, straight forward, lyrically sound album, and forgot about what anybody thought of him (Chris Knight), he could totally reinvent his image and do wonders for his craft.
Eric
April 10, 2014 @ 1:46 pm
I suppose that Ronnie Dunn was somewhat like Blake Shelton in the Brooks and Dunn era. However, he had some songs in the post-B&D era that Blake Shelton has never come close to matching. I wonder if Blake will ever cut a song like this:
http://tasteofcountry.com/ronnie-dunn-cost-of-livin/
Note: scroll to the bottom of the article to play the song.
Acca Dacca
April 10, 2014 @ 4:26 pm
That’s not quite a fair comparison. The dissent against Blake Shelton is so strong at this point that if he were to cut the best country song of 2014, independent or otherwise, disenfranchised fans would STILL find something to complain about. Much less if he cut a song about being poor or hard living. Ronnie Dunn earned respect for his brand along with Kix Brooks for making quality music (for the most part) for over 20 years in the business. Blake Shelton, meanwhile, flew under the radar for the first few years of his career and when he finally made a major breakthrough, it just happened to be with mediocre music, so he’ll never get any respect (barring the idea that he drop’s his Nashville connections, moves to back home and starts cutting quality, independent country music).
To be honest, I find “Cost of Livin'” to be slightly uncomfortable as it is. Great song, no doubt and I love it, but Dunn is obviously a millionaire and has probably never been poor. I’m not against musicians giving a voice to those less fortunate than them (see FarmAid) but at the same time, pretending to be one when you’re not is a whole different problem. But, I don’t know anything about Ronnie’s upbringing or personal life so maybe he WAS singing that song from the heart. Again, I love it, but it stirs uncomfortable and contradictory feelings within me when I listen to it.
Nick
April 10, 2014 @ 5:32 pm
My comparison was from a music aspect ONLY. No ties between the two on a personal or career/popularity level. And it was just a personal feeling of mine. I have WAY more respect for Ronnie Dunn at his worst than Blake Shelton at his best. Ol Red and The Baby were the only tracks BS ever cut that I would listen to.
What I meant was that, to me, they both sell themselves short with the songs they choose to cut.
I don’t follow Ronnie’s career at all. Everything Trigger wrote was news to me. Putting his comments and views together with this album, and it sounds like he may have been unintentionally misleading fans with the anti-Nashville talk. Sounds like he wants in on what the young guys are doing and feels like he can’t because the Nashville suits don’t want Grandpa singing about cutoffs and tailgates.
Tammy
April 10, 2014 @ 6:52 pm
Ronnie Dunn grew up very poor. He went to 13 schools in 12 years because his father was always moving them around. His father was also an alcoholic. He didn’t make it big until he was in his late thirties. He knows poor very well. Hopefully you will feel a little less uncomfortable listening to Cost of Livin now.
Brian
April 10, 2014 @ 6:09 pm
Brooks and Dunn had a lot of really good songs. They weren’t all great, but there were a lot of really good ones. Songs like Red Dirt Road, Neon Moon, Believe and there were a lot more. They cranked it up a little too much at times with the girls and honkytonk theme, but they were light years better than todays mainstream.
bill
May 22, 2014 @ 8:11 am
Brian, your comments are right on. Brooks and Dunn at their worst are better than this crap on country radio now. Steers and Stripes is still one of my favorite CDs. Even Kix new CD is better than this stuff nowadays. Actually Moonshine Road is a great song and got no airplay. Ronnie’s first solo CD charted at #1 a couple years ago. This new one has gotten no play probably due to his independent label fiasco. Wish these two would get back together. Have loved them for years.
Camie jo
April 10, 2014 @ 1:25 pm
I’ve been waiting for this album and Ronnie Dunn’s solo career.
After listening to the PR expert advise others how to handle all kinds of press, I’m trying to take the moral high ground.
I’ve always been a huge fan. I can remember where I was standing when I first heard the sound of Ronnie’s voice. Awesome.
Kix Brooks personality made their duo so much fun to see in concert. I miss all of it.
BrettS
April 10, 2014 @ 1:36 pm
I agree with you 100% Trigg. Ronnie Dunns voice is one of the best voices ever in country music. It’s unmistakable. For some reason the first song I heard was ” they still play country music in Texas ” and I was like…. Hell Yeah! Then after listening to the rest I was kinda left scratching my head. Some of the songs are just plain awful. All I might listen to are the texas song, grown damn man and Cadillac bound. Great review.
Josh
April 10, 2014 @ 2:48 pm
Thanks for the great review, Trigger! You nailed it perfectly. All I listened to at first was “They Still Play Country Music in Texas” and “Grown Damn Man.” And I was blown away. But I listened to the rest and sadly it’s pretty bad, as you said in your review. Those two songs, along with “Cadillac Bound” show how great he can really be and hopefully his next album reflects this all the way through and not just on a few songs. I’ll still gladly listen to the few good ones from this album though.
bob
April 10, 2014 @ 3:34 pm
Great review – and I liked the first comment on Hillbilly Deluxe. I’ve always loved Dunn’s voice but the only B&D albums I have are Greatest Hits volumes I & II. I have his debut solo album which I think is pretty good, especially Cost of Livin’. I’ve seen co-writer Phillip Coleman sing his original version, the Application. It’s good even though his voice can’t compare to Ronnie Dunn’s. Re the new album, looks like i’ll just be buying a few individual tracks on i-Tunes.
Trigger
April 10, 2014 @ 4:20 pm
I thought Ronnie Dunn’s first solo album was pretty good too, including “Cost of Livin'”, “Bleed Red” and a few others. Dunn has spoken about how it was in the middle of the process of his first solo album that he got sideways with the industry. Listening to this new album, I’m wondering if he got sideways because he wanted to do his own thing, or if because he wanted to go in the whole “bro-country” or country rap direction to stay relevant, and his label said, “Ronnie, that would be suicide. Know who your crowd is, and who you are.”
As much as we might like to chide the industry for not giving artists enough freedom, the simple fact is sometimes they are right. It’s not like his first album was a commercial flop. The thing about writing songs for the radio is they better get on there, because if not, then you’ve alienated your fans, AND missed out on a big payday.
hoptowntiger94
April 10, 2014 @ 4:26 pm
Look at Tim McGraw. We were all over the label for how they were treating him. Now, we can’t take him serious.
Trigger
April 10, 2014 @ 5:49 pm
I still don’t think it was fair how Curb was treating Tim McGraw. Waiting 5 years between new releases and releasing 7 Greatest Hits albums was ridiculous. But so has what Tim McGraw has decided to do with that new found freedom. McGraw and Dunn both have similar earmarks of looking like they want to hold onto their relevancy at all costs.
bob
April 10, 2014 @ 5:08 pm
I don’t and i think that you don’t believe that Ronnie did it for the payday. I think it was more his ego that wanted a #1 (or at least a top 10) song as a solo artist. (I think Cost of Livin’ peaked at around 18.) If all these bro country guys can top the charts with crap, i’m better to begin with so their formula will work for me. It obviously didn’t work and the music sure has suffered.
Jon D.
April 17, 2014 @ 9:21 am
Here is a quote from Ronnie on his Facebook page today after somebody asked him what was up with the hip-hop and pop-country songs on the record, “because I started putting the cd together thinking that radio was in the mix….2 years ago. Then, I stopped using my “radio ears” and started leaning towards real music…..I made records for “radio” for 20 years. Hard to break oid habits. You want a total non radio cd ? …….on it. RD”
Tammy
April 10, 2014 @ 3:58 pm
I was a diehard B&D fan for years, primarily because I love Ronnie Dunn’s voice and singing style. I was very excited when he went solo and really enjoyed most of his first solo album. I was wondering if you would do a review and at the same time worried about what you would say. Sadly, you’ve confirmed what I’m feeling. The first time I listened to Peace, Love and Country music I was very confused. I was really expecting something different. Even after Country This and Kiss You There, I still had hope. He’s never lied about the fact that he likes some rock in his country and I’m good with that. The bro-country lyrics really pissed me off. He’s better than that. I think he needs to get the hell out of Nashville and go find his roots!
Cowboy Joe
April 10, 2014 @ 4:17 pm
I don’t know, even Grown Damn Man sounds a little hackneyed and mediocre to these ears.
hoptowntiger94
April 10, 2014 @ 4:25 pm
I agree that it gets all Zac Brown “Chicken Fried” towards the end. But, the chorus is the most honest, unapologetic, well written mainstream I’ve heard in awhile. And I love the guitar work in the beginning.
J. Burke
April 10, 2014 @ 5:02 pm
Thanks for the great review. I put Ronnie Dunn in the Toby Keith camp. These guys have the best voices since Waylon and are capable of doing so much but both seem to fall short.
ChrisLewisLouie
April 10, 2014 @ 5:18 pm
I totally agree with you on this one. I had so much anticipation for his new album after all the anti-nashville, anti-music row, anti-radio sentiment going around his camp and then collaborating with Ray Wylie Hubbard. Man you would of thought everything coming out of that collaboration would have been gold wrapped. But talk about a dissapointment. This man has probably the best voice in Nashville and can belt out a country ballad like no one. I hope he comes around and gives his fans what they are really looking for. Songs that can rip your damn heart out and stomp on it. For some reason I was expecting this new album to be similiar to what Shooter Jennings did with his last album. Come back to a more subtle acoustic roots album.
Joshua Wallace
April 11, 2014 @ 5:21 am
While I applaud his efforts, he needs to step away from the mainstream entirely to fully do things independently. There is a Billboard interview where he still talks about soliciting songs from publishers in Nashville and having about 60 songs pitched to him in a day. Yes, you’re doing it on your own…..great. How about going completely independent and finding your own songs and songwriters? If you use mainstream Nashville’s publishing companies….sure, you’re still going to get songs like Country This and Kiss You There on an album, that’s what THEY do. There are good songs here though, and that gives me hope….but he’s got to get out of the machine to go completely independant, it’s not just about having your own label and getting away from the big suits.
Red Desert Strangler
April 11, 2014 @ 5:41 am
The only cool thing about that “Cowgirls Rock n Roll” video is the big ass bottle of whiskey on the desk. And is it just me, or does Keith Urban look like he’s been snow skiing again? He seems a little too excited about the banjo dropping in. Regardless of what you think of this album, I’m sure we can all agree Ronnie Dunn earned a lifetime pass when Brooks & Dunn were on King of the Hill that time?
Camie jo
April 11, 2014 @ 9:52 am
Oh, crap. Ronnie, I’m one of your biggest fans.
I played them all the old songs, I thought that”™s why they came
But no one heard the music, we didn”™t look the same
I said hello to Mary Lou, she belongs to me
And when I sang a song about a Honky Tonk, it was time to leave
But it”™s all right now, I learned my lesson well
You see, you can”™t please everyone so you gotta please yourself
Someone opened up a closet door and out stepped Johnny B. Good
Playing guitar like ringing a bell and looking like he should
If you gotta play at garden parties, I wish you a lot of luck
But if memories were all I sang, I”™d rather drive a truck
But it”™s all right now, I learned my lesson well
You see, you can”™t please everyone so you gotta please yourself
You see, you can”™t please everyone so you gotta please yourself
You can”™t please everyone so you gotta please yourself.”
Gena R.
April 11, 2014 @ 10:55 am
“Goth Black Ponytail Ink On Her Arm
Out Here In The Way Back
Doin”™ Things She Shouldn”™t Be Doin Like That”
o_o
Makes “rock my world, little country girl” sound halfway clever. SON, I AM DISAPPOINT.
Jake
April 11, 2014 @ 3:54 pm
It may just be me, but I think if you strip away the hard rock, pop, any other shitty influences, and definitely the bullshit lyrics – actually no, just get rid of anything except the melody of the verses, and I feel like with Ronnie Dunn’s voice it could actually make for a good sad song… If what I’m saying makes sense of course…
Anybody else?
Chris
April 13, 2014 @ 11:45 am
Cost Of Livin’
Sir Topemhat
April 12, 2014 @ 9:47 am
Ronnie Dunn’s first charted single as a solo artist from 1983, pre-Brooks & Dunn:
https://www.youtube.com/watch?v=0jLJpRWfUeA
John D
April 13, 2014 @ 10:27 am
Really interesting story from an amateur pop psychology point of view. How can a person live with such contradictions? As Spock would say: “Fascinating.”
Rakor1932
April 14, 2014 @ 12:00 pm
I listened to Ronnie Dunn this past summer at a concert in PA. Great show and his voice “live” is incredible.
Here is what I am trying to figure out….Does he really want to change things, or does he just feel ignored by Nashville….because brooks and Dunn was finished and he thought his name alone carried authority…or maybe he played a bunch of music he really didn’t want to play for years, then looked for a little bit of creativity and The Label wouldn’t have it. Or maybe trying to be contrarian to Nashville is an attempt to expand his fan base. Hell if I know….
Still enjoy his tunes
Ryan
April 16, 2014 @ 6:38 pm
Brooks & Dunn have always been one of my absolute favorite acts. When I first heard Neon Moon when I was a kid, I was hooked. That song is still in my list of top songs. I’m very conflicted about this album, but there is no doubt Ronnie is just as good as ever, if not better. His voice is remarkable, I heard an acoustic performance of Cigarettes the other day and he was flawless. I just can’t understand why he would do a half assed country album. I’m not giving up though, I’ll be happy with Grown Damn Man, Cigarettes, and the other couple of good ones.
Ronnie Dunn & Older Country Music Artists | Country Perspective
July 16, 2014 @ 12:02 pm
[…] I especially enjoyed the later song. But the problem with placing the song on this album as pointed out by Trigger at Saving Country Music is it comes across as hypocritical (read his critiques too). You can’t call out people for […]
Mike Golliher
September 18, 2014 @ 3:02 am
He’s doing what Waylon,Willie,Johnny and
all the great legends did in the past stood
up anf fought the industry and won. So keep
on fighting Ronnie
Richard Light
November 20, 2014 @ 2:57 pm
I LOVE THIS CD! The whole CD, which is rare to say these days, usually theres 1 or 2 singles and the rest is crap. Sure he contradicts himself at times big deal. Maybe he’s being humerous that way. The songs are good. It’s far superior than Garth Brooks latest offering. It’s flat out country music and it’s excellent! Should be nominated for record of the yr.
Clint Elwood
December 29, 2014 @ 9:36 am
I couldn’t disagree with this review more. I thought it was the perfect blend of traditional and modern Country music. You list “Cowgirls Rock’n Roll” as “the bad” of the album. It’s a good tune and it has grit. It’ s not a “bro-country” template.
I also can’t help but notice the hypocrisy on your part. Isn’t part of the “revolution” supposed to be about artistic freedom that is stifled by the record companies?
Yet, here you are, doing just that, demanding that artist conform to your perception of what Country music should be. You want to lead a revolution, yet you sound like any other music critic in the mainstream.
Forget “one gun up” and “one gun down” as a method of ranking albums. You should lay down your arms and seek amnesty.
The rest of us will fight the good fight.
Ronaldo Brandão Brochado
January 17, 2015 @ 3:25 pm
Ronnie Dunn IS a GREAT SINGER….AND , Really WE CANNOT SAY nothing….BUT …listen HIS music AND learn WHAT IS Country….THE Rest IS only…..chit chat….Ronnie Duuuunnnnn!