This year in popular country music, there were some glimmers of hope. Kacey Musgraves’ “Merry Go ‘Round” found some surprising traction and success, and Kellie Pickler’s 100 Proof may go down as one of the best mainstream country albums in years. But of course this was all counter-balanced by a gaggle of the worst songs “country” music has ever seen.
Big Machine Records
Jesus may have turned the other cheek, but he also overturned the tables of the money changers in the temple where they didn’t belong. Just like the Romans of biblical times, these pop country fart tards are foreign occupiers who need to get the hell out of country. I don’t pretend to know what Jesus would do, but if I were him, I’d shove my sandal straight up Thomas Rhett’s ass and tell him he could keep his Michelob Ultra.
The Country Music Anti-Christ Scott Borchetta has decided to unleash a new wave of pestilence on the human eardrum, this time in the form of the glorified boy band Florida Georgia Line; a horrible combination of Rascal Flatts pretty boy hyper-pop, and designer jeans Jason Aldean “backroad” laundry list bullshit. They are everything bad about quotation mark “country” in 2012.
On Friday Billboard Magazine’s editorial director Bill Werde was interviewed about various topics, including the controversial new rules (at least in some circles) on how Billboard is tabulating the rankings on country’s “Hot 100” songs chart. Werde himself has been in the cross hairs of some country music fans who are worried the new system favors crossover pop artists.
When Billboard announced new rules on how the songs on their “Hot 100” country chart would be tabulated, it caused a tizzy amongst folks who pay attention to these sorts of things. But the average Joe fans out there may have a little trouble understanding why the issue is something they should care about, and how it could negatively effect the music they enjoy.
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Is it compelling? Sure. Is it right? Of course not. Will it result in either the increased exposure of good music, or the greater awareness of the issues plaguing mainstream country? Well have to see. But I remain skeptical. I would rather see Nashville attempt to fix their problems as opposed to try and make money off the drama they create. But of course, that doesn’t make for compelling television.
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The Country Music Anti-Christ, Big Machine Records owner Scott Borchetta was on American Public Media on Friday and said on Taylor Swift and pop country, “If you don’t want to consider it country, I really don’t care. That means nothing to me.” He defined country as, “Whatever fans of country music listen to and like. It’s younger. It’s youth.”
On Tuesday (9-25-12), the Tennessee Court of Appeals upheld a lower Chancery Court ruling denying a request by Curb Record to block Tim McGraw signing and recording with another record label. Barring another appeal being accepted by the Tennessee Supreme Court, this means Tim McGraw is finally free from Curb Records, his label for 20 years.
As some of you may already know, I’ve got a good friend named Pointer, and every year we get together for an annual trip to downtown Nashville around Labor Day. Pointer and I are great friends and we both love country music, but we couldn’t be on more opposite sides of the country music spectrum. Pointer loves to have his picture taken in front of things.
Fake country music “Outlaw” Justin Moore has been served papers for a copyright infringement lawsuit stemming from his 2009 laundry list song “Backwoods” released on his debut self-titled album. Also named in the suit is the Country Music Anti-Christ Scott Borchetta’s Big Machine Records label who released the song.
What is the cause of all of Randy’s recent erratic behavior? One expert says it can be linked to the silver wings that have recently sprouted from the side of Randy’s head. “Paulie Walnuts syndrome is what some like to call it, named after the famous Sopranos TV character known for being especially ruthless and having ‘silver wings’ in his hair.”
But more than just shedding light on Big Machine’s relationship with Tim McGraw, the documents and interviews Curb Records is requesting could also unlock reams of Big Machine business secrets that could give Curb new strategic advantage over the much-younger Big Machine who is steadily gaining market share from Music Row’s old guard.
With the first single from the Big Machine Records-era of Tim McGraw, the country music mega-star pulls off the biggest sellout move of his career, and one of the biggest sellout moves ever seen from an established country music franchise name. Yes friends and neighbors, Tim McGraw has fallen prey to the hyper-trend of the country music laundry list truck song.
Now the court has ruled in favor of Curb Records to postpone the trial until it can investigate the legal relationship between Big Machine Records and Tim McGraw. But once again, some outlets are falsely reporting the story, saying that Curb won and now all the music Tim McGraw has recorded with Big Machine is now the property of Curb. This is simply what Curb records is requesting from the court.
An outright street fight of mammoth proportions is breaking out on Music Row in Nashville, pitting two of Music Row’s heaviest hitters against each other, Mike Curb of Curb Records, representing the old guard and the heavy-handed restrictive way of handling artists, and the up-and-comer, Scott Borchetta, the Country Music Anti-Christ as the two men release competing singles from Tim McGraw.
I first used the phrase “Country Music Antichrist” in reference to Big Machine Records CEO Scott Borchetta about 2 1/2 years ago. I’d like to hold my chin high and say I was being prophetic, but in truth at the time I just thought it was a nasty way to label the guy primarily responsible for the rise of Taylor Swift. Little did I know Borchetta would become one of the most powerful men in all of music.
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Quick to discount the young songstress, this is the first accusation you will see to why Taylor Swift’s success is a sham. Does Taylor Swift’s dad own Swift Trucking? Did he buy a bunch of albums and park them in a warehouse to artificially bloat sales numbers? Did her dad along with Scott Borchetta con Taylor’s first manager? Or is this all a side show to Taylor’s simple success and appeal?
Yesterday Tim McGraw announced in a press conference that he had signed with Scott Borchetta’s Big Machine Records after a 20-year career and protracted legal battle with Curb. The symbolism and significance surrounding the signing was striking, and spoke to the titanic shifts that are rearranging the country music landscape in Nashville at this very moment.
Now Saving Country Music has learned from a reliable source close to Waylon Jennings’ estate that the estate has “distanced” from the choosing of some of the artists on the tribute, especially on the second disc. The Waylon Estate says the family still supports the release of these volumes, but if it was left to them, a different set of contributors would have been chosen.
When Justin Moore’s “Outlaws Like Me” comes out, I will listen to it with the most un-bias perspective I can muster, and try my best to judge the music beyond the marketing. But in the meantime, I am not going to look at him as the problem, I am going to look my self and ask, “What did I do wrong? How can I resolve this? What can I do to make sure this doesn’t happen in the future?”
Big Machine Records, Dale Watson, Eric Church, Hank Jr., Hank Williams, Jamey Johnson, Johnny Cash, Josh Thompson, Justin Moore, Outlaws Like Me, Rascal Flatts, Scott Borchetta, Taylor Swift, Waylon Jennings