The Country Music Association sent out the initial ballots for the 50th Annual CMA Awards on July 5th, and with them came a new system that hopes to stop some of the campaigning for artists to win certain awards. It’s called “Nominee Showcase,” and gives voters a centralized location to find verified and fairly-presented stats on all the nominees.
You’ll be hard pressed to find another country album for the rest of 2016 as heavily anticipated by fans in the know as Cody Jinks’ I’m Not The Devil. Due out August 12th, the reigning Saving Country Music Song of the Year winner feels poised for a breakout with this one, and the snippets released from the record so far have folks salivating for the whole thing.
You know, I would normally be so diametrically opposed to any rapper announcing his intent to make a country record that I would puff my chest out in defiance, shake my little fists, and give other indications of a stony countenance to let them know that I’ll be damned if they waltz through the gates of country music without at least a strong dose of hostile friction from my disgruntled ass.
The thing about music legends is they are legends for us all, and unite individuals with songs that speak to the universal struggles and shared joys that all Americans and humans experience. Politics should never should be foisted upon them so that music can remain a respite from political spats, and a place where people of all political ideologies are welcome.
What once was one of the Internet’s most promising up-and-coming properties has announced they will be ceasing operations on or around July 10th. Examiner.com, which consisted of numerous locally-oriented sub-domains and relied on citizen journalists for content has decided to shutter due to low revenue and a tainted brand.
Watson’s comments illustrate that the issues facing today’s country music don’t just boil down to preferences in style. Country music used to be more about conveying something of substance to the audience—a moment that gives you perspective, or makes you take stock in life.
If “Humble and Kind” had no business on country radio (yet it ended up at #1), then “How I’ll Always Be” is a downright coup d’état. It’s not the lyrics of the song that make it a marvel of modern American country radio. It’s the music of “How I’ll Always Be” that makes it so unique and welcome for mainstream country radio.
For those wondering why Chris Stapleton isn’t playing Willie Nelson’s 4th of July Picnic this year, or perhaps some other big holiday blowout concert, it’s because the flaming hot country music star has decided instead to spend it with the 40,000 service members and their families at Fort Bragg in North Carolina.
Every year, Kenny Chesney’s annual concert on Pittsburgh’s North Shore at the Heinz Field has become the biggest country music embarrassment of the year. This year it’s the video of a drunken female talking on the phone, bent backwards like a character from an M.C. Escher painting while walking backwards before eventually falling down.
Whenever you find an artist who doesn’t fit in the stereotypical mold of what we expect certain music artists to be, that’s when you know you’ve found someone with true passion because they’ve had to overcome those stereotypes and sideways glances when it might be easier to just fold and move on to something else.
Last week the big issue was YouTube, and the ridiculously small amount of revenue that creators make for their works. This week the big issue is a new Justice Department ruling that has the potential to turn the long-standing methods of writing songs, licensing them for use, and paying the songwriters for their efforts completely upside down.
If you thought Sturgill Simpson’s and Stephen Colbert’s Waffle House duet “No Shirt, No Shoes, No Knuckleheads” was funny when they debuted it on national television in April, then the second installment will split your sides.
Cinematographer Kelsey Hammer-Parks and music journalist Nathan Emerson have set out to create a new documentary about a dying music instrument and those trying to save it. That Thing, That Sound is a musical documentary on the steel guitar—often a topic of discussion when the talk turns to the dying roots of country music.
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.
On Tuesday (6-28), the Houston Police Department, in conjunction with the nearby Pasadena and Baytown Police Departments and the Department of Homeland Security, arrested 130 people in a massive operation called “Operation Wheels and Deals.” It was the theft of multiple items from Texas country music artist Zane Williams that helped police connect the dots.
You can almost overlook Craig Morgan if you’re not careful. He’s not been cutting records nearly long enough to consider him some kind of elder or legend in country music. He’s had a few significant hits and noteworthy records over the years, but it’s not like he was a perennial chart topper even in his heyday in the mid oughts.
Bluegrass legend Dr. Ralph Stanley, who passed away on June 23rd, was laid to rest Tuesday evening (6-28) after a public service that included words and performances from Vince Gill, Patty Loveless, Jim Lauderdale, Ricky Skaggs, and other close friends and well-known performers in front of the crowd assembled at the Hills of Home Park in Coeburn, VA.
Bluegrass legend Dr. Ralph Stanley will be laid to rest Tuesday evening (6-28), and a public service has been announced that fans are encouraged to attend. But if you cannot make it, the funeral service will also be streamed online. The service will be held at the Hills of Home Park in Coeburn, VA.
“Country has become a bigger umbrella. It’s good and bad. Country has become too homogenized and too commercial. It has lost what makes it special. It’s great that it’s popular, but then it starts to become watered down.”
Once again the success of California Sunrise demonstrates that traditional country fans are more likely to vote with their dollars and support their favorite artists compared to many mainstream performers. Jon Pardi has also been helped with the continued success of the album’s first single “Head Over Boots.”
Every year we wonder if it can get any worse, and while there are positive signs for country music’s future all over the place, the bad stuff somehow continues to only get worse. The only saving grace is that many of the songs highlighted below have become commercial flops, whereas in previous years it would be a virtual Top 10 on the country charts.
It was late Saturday night, early Sunday morning, roughly midnight Central time, and a press release was sent out across the wires from the Kenny Chesney camp. It seemed like a very strange time to send out a press release, but Kenny Chesney’s peeps had a story they wanted to get out to the public, or more specifically, a story they wanted to be out ahead of.
These guys exude a good time. The second song on the album laments “Sad Bastard Music” and reminds folks the best way to mend a broken heart is to get back on the horse and on with life. It’s a reminder that music doesn’t always have to be deep to be good. It just doesn’t always have to make you feel stupid for listening like so much of the mainstream fun-loving material.
With the recent loss of bluegrass legend Ralph Stanley, country superstar Merle Haggard, songwriting great Freddy Powers, and Bakersfield’s Red Simpson, the amount of artists who are still around that can truly say they were there at the very start of the formation of country and bluegrass is getting anemically slim.
