Robbie Fulks & Sturgill Simpson Help Take the Country Insurgency to the Top of the Industry
The nomination of Sturgill Simpson’s A Sailor’s Guide to Earth by the Grammy Awards for Album of the Year is not just about Sturgill Simpson. It is, but it isn’t. Obviously he deserves the credit for writing, composing, and performing the album that has become the critic’s pick for one the best of this last calendar year, but it’s the result of years and years of work by many individuals and entities that insisted that country and roots music could be done a different way than the well-ordered, stodgy, oligarchical approach of Nashville’s Music Row that have allowed Sturgill Simpson and his musical efforts to prosper.
For years, underground artists, independent labels, and other entities have been laboring at the task of putting the control of country music back in the hands of the artists. This was the philosophy behind the Outlaw movement in country in the mid 70’s. This is the philosophy behind Nashville’s pseudo-label Thirty Tigers, where Sturgill Simpson released his first two records. Thirty Tigers allows artists to call their own shots, and keep control of their masters. Even when Sturgill moved to his current home of Atlantic Records, he was able to do so from a position of power from his success on Thirty Tigers so he was granted the ability to make his own musical decisions, and the unleashing of that creativity is what resulted in the accolades he was awarded by the Grammys.
Arguably just as surprising as the resounding victories by Sturgill Simpson just to be nominated for Album of the Year and Best Country Album, is the nominations for Bloodshot Recording artist Robbie Fulks, who finds himself on the receiving end of considerations for Best Folk Album for his record Upland Stories, and Best American Roots Song for “Alabama At Night.” I know what you’re thinking: How can these rink dink categories measure up to getting nominated for Album of the Year? But in this case it’s not the “what,” but the “who.”
“This is much bigger than me,” Sturgill Simpson said to The New York Times Tuesday after the nominations came down. “I don’t really feel like I did this, in a way.”
What Sturgill is alluding to by saying “This is much bigger than me” is that he has a independent-minded team behind him, and he’s carrying on the work started by artists like Robbie Fulks, and his label Bloodshot Records founded by Nan Warshaw and Rob Miller back in 1993. “Insurgent Country” is what they called it at the time, and the label’s first release was titled For A Life of Sin: A Compilation of Insurgent Chicago Country. Robbie Fulks appeared on that compilation, along with other insurgent country artists looking to stake their claim in country, but in a different way than what the mainstream country industry would allow.
Bloodshot Records would go on to help launch the careers of Ryan Adams, Neko Case, and The Old 97’s just to name a few, and all of a sudden there was an alternative to the intrusive environment in Nashville for country-inspired artists.
For years these artists have been banging on doors, chipping away at walls, and slowly but surely they have been winning more and more acceptance from the mainstream industry as viable artists who’ve been systematically overlooked. The DIY spirit that governs these artists and labels has been at the very core of this movement. Robbie Fulks—a folk and bluegrass player who once was a member of The Special Consensus—spent four years attempting to be a songwriter for Music Row, mostly to no avail, aside from his experience inspiring the rollicking protest song “Fuck This Town.” Fulks, like Sturgill Simpson and others, spoke to the anger the artist were feeling at the restrictive environment that permeated country music.
In the early 2000’s, artists like Hank Williams III, Shooter Jennings, and Justin Townes Earle added familiar names and fresh blood to the movement. Shooter Jennings is who introduced Sturgill Simpson to producer Dave Cobb. Sturgill Simpson’s Metamodern Sounds in Country Music—produced by Dave Cobb—is what inspired Chris Stapleton to record Traveller. Traveller—produced by Dave Cobb—continues to be one of the biggest records released in country music in years, and received its own nomination for Album of the Year by the Grammys 12 months ago.
For Robbie Fulks to now be recognized by a prestigious industry awards apparatus nearly 25 years after being a founding part of the nascent country music insurgency, and for Sturgill Simpson’s name to be placed right beside Adele, Drake, Justin Bieber, and Beyoncé for Album of the Year consideration, speaks to just how far the effort has come to put the control of country music back into the hands of its artists.
When Sturgill Simpson came on to the scene, there was already 20 years of work and momentum behind his back; 40 years if you count the Outlaws. Insurgent, underground, independent country fans were already looking for their next champion, and he fit the bill. He took the reigns from artists like Bobby Bare, Tompall Glaser, Waylon Jennings, Robbie Fulks, Ryan Adams, Hank Williams III, and ran with them.
Neither Robbie nor Sturgill may win anything come February, but that’s almost irrelevant at this point. The country music insurgency has reached to the very top of the entertainment industry’s temple, without the help of radio, and without the benefit of the zeitgeist or pop cultural hype. Instead these victories have been won through the sheer appeal if the music’s creative vibrancy, and the zeal of its grassroots support. And most importantly—and possibly most dangerously for Music Row—folks aren’t just paying attention to Robbie Fulks, Sturgill Simpson, Margo Price, and Jason Isbell, they’re paying attention to how they got here—namely, without the support of Music Row.
December 7, 2016 @ 11:22 pm
Nice article, Trigger. Good read and very poignant. From my perspective, I feel like we are on the crescent of creativity in a cycle of critical recognition of good music in the Country/Americana/Folk/Roots/Ameripolitan/alt-country genre-sphere (I’m not so bothered by genre names as attached to particular artists, but I think I captured most of the big ones here). It is by no means a perfect cycle, and as with any art, the definitions of “good” and “bad” are always subjective perceptions. But I think we can agree, many big organizations and critics seem to have “caught onto” the cycle with awards and recognition for folks like Stapleton, Fulks, McKenna, Simpson, Price, etc.
In the 70’s we had the outlaw movement; the “country” music to which I was exposed (and inundated) as an elementary school boy. In the 80’s we had the neo-traditionalist movement. In the 90’s we had the alt-country movement. in the 2000’s we got Americana and in the 2010’s we now have the aforementioned genre-sphere. What I find striking, and what is further reinforced reading your journalism, is that country radio and the “music row” production machine, since the 80’s, seems to have fallen off the train. It’s like some old bloodhound that just can’t seem to get back on the scent. They have become so insular, in their good ol’ boy, profit padded echo chamber, they are incapable of recognizing art, and specifically the art of genuine songwriting and organic musicianship. As you so eloquently point out, this movement is hardly new. You mentioned Robbie Fulks, Old 97’s, Ryan Adams. We also had Uncle Tupelo, Wilco, Son Volt, the Jayhawks, Whiskeytown (yes, I know, Adams), Patty Griffin, Gillian Welch, etc. Until I was introduced to all these artists, I had stopped listening to modern country music completely. I have not listened to FM country radio in 35+ years. These artists, like so many you review and promote on your site, have kept the torch alive for nearly 3 decades. We have now reached another point, like with Ryan Adams 20 years ago for example, where these artists are garnering much deserved and wide critical recognition and support. We can just look at the Grammy nominations you published for evidence.
However, honest question, do you think anything will actually change on radio or in music row? Will they look to sign the “next Sturgill SImpson” and give him/her creative license? Or are they just going to try to manufacture some unfortunate clone, feed him/her poorly written assembly line music row carbon copy cutout songs, and find a producer who will poorly imitate Dave Cobb? Will they then put on a social media marketing blitz and pay off radio executives to play their songs in a top forty rotation? All the while they will ignore genuine talent that comes from the outside or “independent world.
I apologize if I come across negative or bleak. I am actually perfectly content reading SCM, finding great artists, buying their records and sharing them with friends.
But I am seriously dumbfounded at the state of radio and “music row.” It just boggles my mind…’cause I’m not that bright, but I figured it out…give people good music and they will BUY it; not steal it off the internet…
Maybe Vonnegut had it all figured out with his one simple phrase, “so it goes…” and so it does…
December 8, 2016 @ 2:53 am
”However, honest question, do you think anything will actually change on radio or in music row? ”
THAT is a great question and the answer , I believe is no …….and here , in my humble opinion , is why.
Radio – commercial radio – is designed to keep listeners engaged from commercial to commercial by playing a song , telling a humorous anecdote or providing useful information – a weather forecast , a sports score or a newscast . The song’s primary role on commercial radio is keeping THE MOST NUMBER OF PEOPLE ( market demographic for advertisers ) engaged . As shitty lyrically and as inane musically as MOST commercial music is , it is doing its job as outlined above . It is providing musical wallpaper that strives NOT to offend , alienate ,bore , challenge or , God forbid , distract the target demographic .It has taken radio a century to fine-tune ( no pun intended ) its approach to doing this successfully .
The songs we herald by ” indie” outside-the -mainstream artists are most often designed to do the complete opposite of commercial radio songs . They are often more ‘ artist-centric ‘ than ‘listener-centric’ ….that is …they sing AT a listener …not about or with a listener. Almost without exception these alt type songs rely on a listener taking the initiative to engage ( be pro-active ) and sacrifice strong musical ( and even lyrical ) ‘ hooks to achieve this end . Often , the artists’ lack of awareness of or refusal to acknowledge the importance of these crucial elements is what keeps an otherwise good song from becoming a standard .
There are fewer and fewer songs around that utilize tried and true songwriting craft to create irresistibly hooky pieces of music that will not only stand the test of time but do so for the right reasons . Unfortunately , and as difficult as it is to admit , the few songs that still DO that are on commercial radio . And the reason is the above-mentioned understanding of the role of a commercial song AND a solid grasp of the craft of writing one along with a knowledge of the market willing to buy it . There are countless numbers of people who call themselves songwriters because….well …. they’ve written a song . NOW ,those folks can record and distribute those songs cheaper and far easier than ever. Inevitably , they will find an interested listener ….or MANY listeners . THIS FACT ALONE DOES NOT MAKE THE SONG(S) GOOD . It merely makes them available .
Radio will always want hooky , ‘ groovy ‘ harmless songs that don’t demand much from a listener other than leaving the dial set right where it is . There will ALWAYS be listeners for whom music is nothing more than white noise and being passively engaged is just fine , thank you very much . Everbody’s happy …a marriage made in marketing heaven . Radio doesn’t NEED to change . But the alt , non-mainstream artists NEED to become better song craftsman if they want to capture huge numbers of listeners who will REMAIN loyal throughout a 20-0 year career . There is no substitute for a great song which understands craft and how to effectively implement it for career longevity .
December 8, 2016 @ 9:26 am
Good thoughts friend. BUT I fear you’ve overlooked a key part of the equation.
Radio is losing steam. JUST keeping listeners engaged between commercials isn’t doing it anymore. Weather reports? we have the internet now.
Radio’s obsolete model is basically the equivalent of what Hank Thompson did during the rise of Hillbilly Country singers like Hank Williams
“Big bands aren’t making money? I’ll make a bigger better big band.”
and Hank Thompson was hugely successful for a long time.
and radio is clinging on clear up until almost the 2020s.
But the internet is going to eat it.
The sheer fact that so many artists over the past 2 years have gone number 1 without radio proves that radio is gradually becoming more and more out of touch until the internet eats it alive.
I’m about to give a presentation about it for my capstone class (graduating in a week yay!!!!!!)
Radio has about another decade behind it as a major force, I bet, but I don’t believe it will keep going en force without major changes.
of course the best songs have never become the greatest hits. It can never be that way except in a culture that truly fosters music education and reverence, and no such culture exists.
just my two cents.
December 8, 2016 @ 11:12 am
Yes Fuzzy …the internet is a huge factor and yes commercial radio and commercial TV are losing listeners/viewership . But I don’t believe its because of the ‘bad’ content so much as because of the countless options available to consumers- dozens of streaming services for music , many many cable networks , TIVO… iTunes or other download outlets , DVD..video games etc.. .We have reached a point where we are , indeed , able to amuse ourselves to death and NOW we can do it commercial-free ..if we can afford that option . But because there are so many ‘ entertainment providers ‘ ( I won’t use the word ‘ artists ‘ ) they are each tapping into a smaller share of the pie.
Commercial radio with its information AND entertainment approach does still offer something somewhat useful and FREE . For example, we have a 24 hour traffic station in our area with weather updates as well …INVALUABLE if you live in a congested , sprawling big city locale – which you can access in your vehicle . We have a sports station delivering the game to you on your 1-2 hour commute to and from work
My point , when it comes to music , is that COMMERCIAL music will always find a listener because its is designed to do so and tweaked accordingly . At its best , craft is employed to the Nth degree ( repetition of hook , big meldodic intervals , in-your-face- productions , character -driven , if not talent -driven , vocalists , trendy lyric content . And yes …substance is sacrificed . But the fact that these elements are important to hooking a listener seems lost on so many Indie acts ( for lack of a better term ) . And because the pie is getting smaller and smaller , you may need several pieces or more to ensure career relevance and sustainability . I don’t care if you CAN walk on your hands all the way from New York to LA , if you can’t make money at it you’ll be out of the hand-walking business pretty quick .
December 9, 2016 @ 5:16 pm
I’ll take your two cents as well, Fuzzy. Thanks! Gonna share your presentation?
December 9, 2016 @ 5:15 pm
Thank you, Albert, for the thoughtful reply. Appreciate your take on the conundrum!
December 8, 2016 @ 8:18 am
Good article and good replies.
I’m one of those who stopped listening to FM radio (so long ago I can’t tell you how long it’s been, I’ll turn 69 later this month) though my reasons were different. Admittedly the music (what little could be called music) sucked, but I heard that happening to AM radio as well in that they had a rotation of songs you could almost set your clock by, but I digress….I stopped listening to radio because it became about the DJ’s and not the music. And not that that I’m a music freak, per-se’. But, when music is alleged to be what you’re selling then the foundation of your business model should be music, not the fool(s) spinning it. I spose it’s called being entertained….LOL, like the contests they have to award the winner something, often money, tells me they have to pay (entice) people to listen to their BS.
My oldest son (he just turned 36 in Oct) introduced me to Jamey Johnson then Cody Jinks, and personally I’m glad they aren’t beholden to the powers that be in the corporate world. I could get pretty deep here with my opinion(s) on corprastacracy(?)/oligarchy etc. as it has permeated our society thoroughly, not just music wise. These guys we’re lauding are the new hippies. Hippies were anti-establishment and these guys we’re opening our arms (and pocket books) to are just that, meaning I (and others) are coming full circle. I remember when I hated hippies, and I now wear my (white) hair in a pony tail.LOL. I tell those who comment about it that it’s my anti-establishment statement- and since I don’t write songs (though I have in the past) it’s my effort to show “I” will survive, in spite of,if not to spite the collective, i.e., the establishment and the music I choose to listen to will reflect just that!
I’m happy for the accolades they receive, but I could personally care less what the rest of the world (or music industry) thinks about MY choice(s), in music – or anything else for that matter. I’m happier they have the gift to connect through words and music that actually evokes and emotion and anyone who can’t/doesn’t/refuses to acknowledge that is an idiot including the pseudo know it alls.
December 8, 2016 @ 8:22 am
Why are my replies not posting?
December 8, 2016 @ 8:37 am
DJ,
Your reply has now been posted. Sorry about the delay. When comments reach a certain length or include lots of links, then they are sent to moderation.
December 8, 2016 @ 10:14 am
Very happy to see Robbie get some recognition.
December 8, 2016 @ 10:17 am
Hi this is kind of random, but would you ever consider reviewing Candi Carpenter’s “Burn the Bed”?
December 8, 2016 @ 10:38 am
I’m very happy for Robbie Fulks. Upland Stories is just a great album and Alabama At Night is one of its strongest songs. My favorite is Fare Thee Well Carolina Girls.