Scott Borchetta Living Up to Promise to “Dig A Little Deeper”
Scott Borchetta. The Country Music Antichrist. Disputably the biggest power broker in all of country music right now as his vast Big Machine Label Group continues to acquire subsidiaries and strike historic deals with other power players throughout the industry. Big Machine now comprises a small city of artists and support staff, and has a roster that boasts many of the biggest names in the business, both of in front of the mic and behind the desk.
But if you think Borchetta has attained his position by happenstance or predatory business practices, you’re not paying attention. Scott Borchetta has taken his place at the top of the country music hierarchy by making one savvy and forward-thinking move after another, by making historic deals with radio and entertainment entities, and by actually offering his artists a dollop of artistic freedom which has allowed him to slowly pilfer the rosters of his competition while giving him first pick of up-and-coming talent, and gaining first rights of refusal with many of the industry’s best songwriters. Scott Borchetta is generally running circles around his competition, and as he leads and everyone else follows, where Borchetta goes, so goes country music.
It has been the contention of Saving Country Music that so-called “Bro-Country” has been dead for months now and we’re just working through excess inventory at the moment, despite nearly every major journalistic publication using the buzzword as click bait left and right to draw in angry music fans, many who come to country music from the outside looking in, wondering what happened to the genre.
Virtually nothing comes off of Music Row in Nashville these days without 6 to 9 months of lead time behind it. The business is simply too bogged down with corporate bureaucracy to be any more fleet of foot. Last winter when “Bro-Country” was at it’s height and the backlash was beginning in earnest, NPR’s Neda Ulaby put together a piece called “How A Hip-Hop Remix Helped Make ‘Cruise’ The Year’s Biggest Country Hit” (hear below). “Cruise” by Big Machine artist Florida Georgia Line now owns the distinction of being the longest running #1 in country music history, thanks to the remix and the rise of “Bro-Country”. At the time, Scott Borchetta was as guilty as any culprit for the “Bro” phenomenon. Florida Georgia Line was the subgenre’s biggest act, and another Big Machine artist, Brantley Gilbert, could arguably be fingered as one of the godfathers of the movement.
But behind-the-scenes, Borchetta was spying all the earmarks of a hyper-trend, and saw that “Bro-Country” may be leaving his label vulnerable if they continued to bet their future on it. In Neda Ulaby’s NPR report, Borchetta said some things that stunned the country blogsphere at the time.
“Everybody in Nashville must be drinking 24-7. We’re a bunch of drunks down here,” Borchetta joked, but then turned serious. “There’s too much, to be honest with you. We can’t keep talking about Fireball and Coors Light and having the tailgate down, etc.”
Then Borchetta said, “So we’ll task our writers and artists to dig a little deeper.”
At the time the quotes came out, who could tell if they were sincere or lip service. Since it takes 6 to 9 months to get a song from page to stage, we would have to wait until …. oh, about right now to see if the sentiment embedded in the quotes actually bore out in action. And lo and behold, it appears that it has, at least to some extent.
It started with the young 18-year-old duo Maddie & Tae, and their track “Girl In A Country Song“. Though it has yet to be released to radio, it is already making a big buzz because of its ANTI “Bro-Country” message. In the song the two teens directly call out many of the “Bro-Country” era’s biggest hits, while lashing out about being objectified by the trend.
Though what kind of impact “Girl In A Country Song” will have remains to be seen, Scott Borchetta has personally said he believes the song is a blockbuster, and that it’s one of the primary reasons he signed the girls to the label. Borchetta and his A&R crew expect nothing less than “Girl In A Country Song” to be one of the biggest hits in all of 2014.
Then right on the heels of the Maddie & Tae news, Florida Georgia Line, the centerpiece of the “Bro-Country” movement, release a song called “Dirt” that has two perennial pop country naysayers in Saving Country Music and Farce The Music singing its praises. Some, if not many don’t see the song in the same light, but even in the fracas of subjectivity, it is hard to not find the consensus that the song is of great improvement from the duo.
“So we’ll task our writers and artists to dig a little deeper,” Borchetta said back in December. Apparently he did.
This is why Borchetta is leading, and everyone else is following. As many of country music’s major labels are still manufacturing “Bro-Country” and have it situated at various point in the pipeline, Big Machine has moved on, not just in anticipation of the backlash, but hoping to spurn it on and capitalize off of it.
Meanwhile Scott Borchetta’s partnership with Cumulus Media called NASH Icons looks to re-integrate aging talent back into the radio format.
Let’s not give Scott Borchetta too much credit though. His motivations may not just be wanting to serve the public with better music, but more based on economic concerns that the “Bro-Country” backlash will begin to make the style of music unsavory to fans en masse. It is savvy business to get them coming in the door, and going out. And that’s exactly what Big Machine is poised to do with a bevy of new singles that may become some of the biggest of 2014, and through Borchetta’s leadership, shift the focus from “Bro-Country” to music of a little deeper substance throughout the country format.
READ: The Re-Integration of “Bro-Country” Hatred by Music Row
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The NPR segment from December 2013 also talks to Jody Rosen who coined the phrase “Bro-Country”.
July 9, 2014 @ 6:30 pm
I have been resisting saying this, mainly because I can understand where all of the criticism stems from, but I honestly think you have given Brantley Gilbert an unfair shake. You are probably aware of the fact that I am BG fan,despite my hatred of his current two singles, but you make him out to be the worst offender of all of shallow-country stereotypes. Yes he has had his share of “laundry-list songs” but so has The Cadillac Three. You endorsed the Cadillac Three/Black/whatever name they are going by these days, because they have been releasing music revolving around this subject matter long before anyone else has. Well so has Brantley Gilbert.
BG released his first album in 2009 and his second album in 2010. Both before the generic country formula took off. The only single he had released prior to late-2013 that was truly a laundry list type song was Country Must Be Country Wide. And even that barley scratched the surface. In fact the majority of what you have leveled against him has been purely materialistic/appearance based. His wallet chains, his t-shirts, his tattoos. I’m sorry but that is no way to judge music. I understand you not liking the guy. Hell I watch his interviews now and think, damn Brantley why do you constantly have to bring up the fact that you were arrested in your youth? But the reality is so many county artists have bragged about the exact same things. You claimed The Cadillac Three has the “independent look” I don’t see any artists out there dressing like Brantley. I truly believe he dresses how he wants even though that is not the typical look in country music. Wether you want to stereotype that style of fashion is one thing. But letting it interfere with how you judge his music is another.
I have never really stood up for Brantley before, but I think it has gotten to the point where someone, semi-coherent, has to say something. He does release solid, heartfelt, music wether people chose to ignore it or not. He is a genuine guy, as far as mainstream music goes, and he is releasing music that he believes in. Maybe its not sonically complex, lean towards the simple side (btw that is same criticism leveled at Hemingway when he began writing, and no I don’t think Brantley comes even close to Hemingway’s genius) but it’s still authentic which is more than most of country radio can say today.
July 9, 2014 @ 6:55 pm
Hey, if I’ve established anything over the past few days, it’s that I’m willing to give anyone an honest review. Brantley is on the list to receive an album review. So are many others. I appreciate your passion, and I will take it to heart.
July 9, 2014 @ 7:10 pm
Thanks for hearing me out.
July 9, 2014 @ 8:10 pm
I’m not any kind of Brantley Gilbert fan, but I’ll say this ”¦ his latest album, while not really being something that I would want to listen to over and over, really wasn’t nearly as bad as I was expecting. Yeah that “Bottoms Up” song is pretty horrible, but the album had some songs that I really didn’t dislike at all, which surprised me. I’d say it was quite a bit better than “Halfway to Heaven”, which I didn’t care for much at all.
Gotta agree about the persona he is projecting though, it’s pretty annoying ”¦ but I can say that about other singers too.
July 10, 2014 @ 2:55 am
I agree, Wez.
“Just As I Am”, as I mentioned before in an earlier thread, is actually a pretty decent album, all things considered.
It’s absolutely frustrating that Gilbert either insists or otherwise allows himself to be marketed as this patron saint of douchebillies, and also allows the vast majority of the singles chosen for radio to reinforce that caricature……………..when the majority of tracks on “Just As I Am” are actually quite the contrary. Much like Jason Aldean’s albums, the loud, knuckleheaded singles prove to be diversions from the reflective, sentimental and nostalgic material that make up the majority of the tracks.
“My Faith in You”, “Let It Ride”, “One Hell of an Amen” and “I’m Gone” vindicate longtime fans of his who have long insisted on the defensive that Gilbert is about more than just name-dropping country artists in arena rock songs masquerading as country, fist fights and G.R.I.T.S (uggghhhh). They are living proof Gilbert’s heart truly resides in writing material that touches on personal experiences as opposed to spectacles. Yet, the Nashville Music Machine seems to continue to require him to throw red meat to the douche crowd; which also happens to be what makes it to radio.
But that doesn’t change the fact I consider “Just As I Am” a respectable album. Not a great one, but a respectable one all the same.
July 10, 2014 @ 7:52 am
I dislike Brantley immensely, my biggest problem aside from the immaturity, is that he rips off Bon Jovi at every turn.
July 10, 2014 @ 3:10 pm
My problem with Gilbert is his music sounds like he looks. Or at least, his singles do. Every song I’ve heard from him sounds like it was written by some secondrate rock cover band in their spare time. If someone releases dreck like Bottoms Up, I’m not gonna be checking out their album to see if there’s anything worthwhile. There’s too much other good stuff to listen to. He also sounded awful live the few times I’ve heard him. If I liked his music, I certainly wouldn’t care what he wears. I just haven’t found anything to like about the guy. :/
July 10, 2014 @ 7:28 pm
‘If someone releases dreck like Bottoms Up, I’m not gonna be checking out their album to see if there’s anything worthwhile’
I agree completely. This seems to be a popular refrain from the fans of so many of these kind of acts. If they are so talented and amazing as their fans say then they should be releasing these songs as singles so that more discerning fans will see that they are more than just opportunistic hacks and at the same time maybe it will improve the overall quality of mainstream country radio.
Furthermore, in our current culture image is very important and honestly when I see Brantley Gilbert, FGL, and Luke Bryan among others and the way they present themselves I almost immediately form a negative reaction. Is that fair? Maybe, maybe not but it is a fact of life.
July 10, 2014 @ 7:16 pm
I do not believe Trigger ever really endorsed The Cadillac Three, articles mentioning them were pretty middle-of-the-road. Regardless, it seems like you are trying to say that BG should be given the same respect as TC3 because BG has also been doing the laundry-list party songs since before they were popular. Then you go on trying to make the point that BG always has much deeper songs on his albums and that we should look past his shallow laundry list-songs. Sounds kind of contradictory.
Here is why you should not try to compare the two:
-TC3’s singles (so far) are exactly what you get when you listen to the rest of the album, take it or leave it.
-Vocals aside, TC3 relies solely on the musical talent of the three of them
-TC3 does not seem to care about their personal appearance, that is why they have a “independent look”.
-BG’s singles are far from the songs his fans cite when defending him
-BG has used EDM
-BG clearly puts thought, time, and effort into his personal appearance, he does not just look different because that is how he woke up in the morning.
I do not know either personally, who knows who is really putting on a act and who isn’t, but after listening to the music of both and watching interviews, TC3 seems a lot more genuine to me, even if BG has more songs that are of substance. This is why TC3 gets a certain level of respect that BG doesn’t even though TC3 is more one-dimensional.
TC3 is still pretty new to the mainstream scene, hopefully they do not make me eat my words.
July 9, 2014 @ 8:52 pm
Speaking of reintegrating older talent back into radio, does anyone have any news on Clint Black? I read a few interviews in which he stated that he was talking with “a major label” about putting out an album that he’s more or less completed. He went on to say that they would give radio one last try before deciding what direction to continue in. I can’t help but think it might be Big Machine. Maybe not, but I just don’t see too many “major” labels chomping at the bit to sign Black at this point. Anyone have any more information? Trigger? I would say that I’m excited, but given that he’s periodically talked about a “new album” since 2008 one can only assume that this one stands a chance of being shelved along with the others that he said he was working on (one assumes that he hasn’t been sitting on the same 12 songs since his self-owned label Equity shut down six years ago).
July 9, 2014 @ 9:39 pm
You know, I really just cannot bring myself to hate this guy. Other than what’s come out about Taylor Swift and Justin Moore, it seems like he lets his artists do what they want, and he gives the consumers what they ask for. That’s good business. And business is what it is, I’m not saying he’s some great patron of the arts, ’cause he’s not, but as far as business owners go, he does it well.
And he ain’t Mike Curb, so he’s got that going for him.
July 9, 2014 @ 11:09 pm
Well, you have to understand where Trigger and the like are coming from with this “antichrist” criticism: good business in this case is maintaining and environment in which music that is shallow, ignorant and out-of-touch with its roots is allowed to prosper. In the music industry, “good business” typically means “bad music,” or so that’s the popular consensus, anyway. That’s why we have indie music and labels.
As for the man himself, I agree with you. Society has such a habit of demonizing businesses and their leaders. Most of the time it’s with good reason but it taints the whole crop in the eye of the public. Plus, people are naturally resentful of those they view as more fortunate than they are, like CEOs, etc. He might support some crappy music but Borchetta otherwise seems like a decent guy from what I’ve read of him. On the other hand, it doesn’t mean I’ll be picking up any Taylor Swift albums any time soon.
July 9, 2014 @ 11:49 pm
The “Antichrist” nickname was officially coined because of how far Scott Borchetta had eroded the term “country”, principally through the marketing of Taylor Swift, but through other artists as well.
July 10, 2014 @ 12:20 am
I think I’ve reached the point where I don’t care if something is crass commercialism or not. If something resembling actual country music is commercial, then, YAY.
I’ve despised FGL’s music up to this point, but I genuinely like “Dirt” and hope people give it a chance. It reminds me of the 80s/90s music I grew up with, the simple themes that resonate because they’re universally human. That’s country to me at its core, and man, there has been a SERIOUS lack of those kinds of songs the past few years. It’s not a story song but at least it has an arc, something else that’s been sorely lacking.
I haven’t completely changed my opinion of FGL – I kinda feel like they’d go whatever way the wind blows – but at least they’ve made a song I actually want to listen to. That’s progress. I appreciate Borchetta using his power for good instead of evil, at least this time! If this is his statement, I’m listening.
July 10, 2014 @ 2:52 pm
Two things I’d like to add that occurred to me while writing a post, about why “Dirt” strikes such a positive chord. Unlike” Girl in a Country Song”, which I do like as a one-off, I want to hear more songs like “Dirt”. No, not about Dirt itself… please don’t release a spate of songs called “Clay” and “Mud” now 😛 But human experience songs, sentimental songs, please keep them coming. I’ve missed that so much. What they’ve done here is exactly what I hoped for – replace “bro” material with thoughtful sentiment, rather than anti-bro sentiment.
I also think this is a real statement of moving away from “bro.” The fact that FGL, who’d never released anything deeper than a kiddie pool, seems to have been designated to start a trend of “deeper” music (or as I like to call it, actual country music) is very telling to me. Borchetta means business. This is the one artist I was SURE would fade away when the bro fad died out, but instead they’re spearheading a new direction.
Yeah it’s pretty brilliant marketing, but it’s also a good sign for country fans. Even if you can’t get past your hate for FGL (which is hard for me!) or don’t like this particular song, I think it’s an acorn of positive change. That’s not to say FGL won’t ever do another fun party song, but those songs can be fine as long as there’s a mix of serious material. And please, no more rapping… I hope.
July 10, 2014 @ 3:07 pm
But don’t you think songs like that, when they come from the establishment, will be just as artificial and calculated as the “bro-country” songs? Borchetta sticks his finger in the air, senses that the winds are shifting away from bro-country and commissions his minions to write something about fake country boy experiences they never had… There is nothing organic about that either. I guess that’s the problem with “professional” songwriting, especially in an era where they’re sitting in an air-conditioned office….
July 10, 2014 @ 3:26 pm
Oh, absolutely. I guess I’ve come to terms with that being par for the course these days. I’ll take a positive change, even if it’s calculated as hell, which I know this is. It might still help lead to something better.
July 10, 2014 @ 2:36 am
As humiliating as it is to compliment Borchetta when considering so many other decisions he has made that have, in my opinion, greatly hurt more than helped the industry……………I have to be honest. I think Borchetta has indeed kept that promise, and he deserves credit and some begrudging respect for that.
I actually streamed minute-long samples to every track off of Tim McGraw’s forthcoming “Sundown Heaven Town” (ugggggghhhhh…..why hasn’t he changed that title?) late last week……………and I can declare with relief that “Lookin’ For That Girl” was indeed the outlier. Most of the remaining tracks actually bear a much closer resemblance to his current better-than-decent single “Meanwhile Back At Mama’s” than that atrocity, and are surprisingly intimate (even though the production is admittedly bland a little too often). There’s plenty to like in terms of lyricism on this record, and also bolsters Borchetta’s case.
As with Florida Georgia Line, I think it stands to reason we should expect at least a triad of party songs on their forthcoming LP. What I’m curious to see, though, is if even the party songs deviate from the lowest common denominator somewhat and have some nuance with growing up a bit since the debut LP.
July 10, 2014 @ 2:45 am
I think that actually explains why I consider “Hell Raisin’ Heat of the Summer” the best track off of the mostly irritating and disposable “Here’s to the Good Times”.
Despite the annoying Auto-Tuned vocals, overproduction and awkward lyrical descriptors, I actually felt it succeeds somewhat at channelling a semi-melancholy, saudade sort of vibe reflecting on days of carefree abandon and youthful mischief. The title track also succeeds somewhat at this: where the lyrics in the verses follow the same-old party song template but then the already bittersweet atmosphere the production gives off is heightened by the semi-melancholic, urgent final line: “Here’s to the good times…………while there’s still time…”
I think those two power ballads reveal some potential in the duo to elaborate on tackling the mixed emotions that come with growing up and wanting to hold onto your youth in other songs they’ll either write or cover. And that may actually produce some more nuanced and interesting party songs.
July 10, 2014 @ 5:10 am
When I first heard “Meanwhile Back at Mama’s” I thought, “Wow someone did a decent ripoff of old Tim McGraw.” I was shocked to find out the ripoff was done by new Tim McGraw.
July 10, 2014 @ 12:22 pm
Hey, Noah: a little off topic, but I got no bites on my above post. Do you know anything about Clint Black’s current situation? Read my above comment if you haven’t already and give me a spill. I always enjoy your insight (I’m personally surprised you don’t have your own blog) and I’d like to know what you think on his predicament even if you don’t have any more concrete facts than I do. Trigger didn’t respond so I assume that he doesn’t know very much either or just has other stuff to do (maybe an article on Black? 🙂 ).
July 10, 2014 @ 12:33 pm
Oh, sure! I’m glad t share what I do know about him! =)
He’s actually going to be announcing his next tour sometime today, according to his Facebook Fan Page.
Also, Black has been as open to admittng than anyone that: “Now it seems Nothing”™s News to me. But there will be news for you!” He was quoted for saying that on June 30th, so I gather we should expect to hear more details about possible new music down the line as well.
It honestly surprises me that Black seems to have quite the knack for social media. A lot of what he shares on his page is remarkably humorous and cute, actually. Like “38 Dogs Who Are Too Tuckered Out To Continue” (laughs) I’d actually much rather follow him on social media than Blake Shelton (and most certainly Chase Rice) any day. Shelton and Rice just sound often like they’re trying to force coming off as controversial with all their profanity-laden Tweets, while Clint Black shares a lot of fun content that is friendly for the family.
July 10, 2014 @ 12:59 pm
Thanks for responding and that’s good to hear. I wonder if he’s trying to ride a bit of Garth’s momentum, seeing as how they’re probably the biggest names from the Class of ’89 (Alan Jackson notwithstanding, of course)? And as I said in the above comment, he’s periodically dropped information about a new album for the last six or so years, so I assume that the project has morphed quite a bit if it hasn’t been several different projects altogether. I am intrigued to see if the label he mentioned is Big Machine. How likely would that look to you?
As for the social media, I agree. Black, along with Brad Paisley and Big Kenny, seems to be from a crop of artists that seem so nice that they’re almost impossible to hate as people, even if you don’t like their music. I personally don’t give a crap about Chase Rice for obvious reasons (in fact I have a hard time remembering just who he is, which is a rarity for a mainstream country artist with me), but I used to be a fan of Shelton a few years ago. I own all of his albums, even his last couple that I’m not overly fond of, mainly because there’s always a song or two that I like. I also don’t like using Spotify for critical listening so I’d rather buy it or not listen at all. Anyways, he lost some of my respect when he started going glossy pop with Red River Blue (even though I personally liked “Hillbilly Bone,” stupid as it was) and he killed the majority of my respect when “Boys ‘Round Here” dropped. His drunken rants about “fat women” and comments about older country fans sealed the deal with me. Again, I’ll still listen to some songs by him and probably buy his next album but as a person I really don’t like who he’s become.
July 10, 2014 @ 1:13 pm
Clint Black just strikes me as an immensely grateful person. If he is announcing a comeback effort, I’m pretty sure it will be consistent with what he does best and, if he does try to modernize his sound slightly, I just can’t see him going any further than Joe Nichols has done with “Crickets”. That is, sound-wise, i would see it being similar and lyrically I think he’ll stay away from bro-country cliches altogether (I consider Nichols’ current single “Yeah” to fit how bro-country is usually defined).
Wow, I don’t even remember coming across a “fat women” remark from Shelton. Did he really say that? Because I know, for a long time, many often remarked about how overweight Miranda Lambert was in their eyes…………..and I certainly hope the reason Lambert underwent weight loss as of late was out of her own self-affirmation, NOT because she felt pressured and ashamed because of insensitive fat-shaming remarks like that.
July 10, 2014 @ 2:33 pm
I had similar feelings on “Yeah” with Joe Nichols, though I like that one better than the usual output of the “movement” because it’s still country and doesn’t take itself too seriously. I never figured that Black would do anything resembling what passes on the radio these days. He was always one of the better things on the radio in his day. As for the fat comments, I do recall reading an article about it and seeing one of the tweets myself. He might have removed them (as artists are wont to do with social media remarks) but it would have been about this time last year or a little before, I think. As far as I know, however, they weren’t directed at Miranda. They were about women that he felt were coming on to him that weren’t attractive. I’m not sure why she started losing weight but I also hope that’s not why. To be honest, it reminded me very much of the Hank Jr. song “Fat Friends” from Montana Café. I hope Shelton doesn’t end up as a self-mythologizing arrogant fool like Junior has, but only time will tell.
July 10, 2014 @ 3:06 am
Regarding the Brantley Gilbert comment, one thing I’ve noticed about Trigger over the years is that he’s consistent and he’s not afraid to give you his opinion. I’ve read Trigger calling Bzg a douche plenty of times. But I’ve also read him respond to commentators very clearly that people should listen to what they like and like what they listen to. He’s certainly never demeaned anyone for their personal tastes. (Just like I don’t demean him for liking “Dirt” 🙂 )
What does this have to do with Scott Borchetta? Well, he’s not an artist. And he’s not a trend-setter. He’s a businessman, which is to say he’s a mirror of the broader culture and audience/consumers of music. He’s there to make money. His comments, therefore, suggest that the mirror is beginning to reflect an audience growing bored of the same old “bro country” and “beach country” crap. So Trigger’s voice, and all of y’alls, is getting louder and being joined by more folks. To the extent that Borchetta’s business decisions (and the sound of his entertainers) may reflect that in the future isn’t a value judgment or change of heart. It’s just good business. The good news is that if Nashville entertainers migrate their sound and writing to a more traditional flavor of country music, it opens up the door for more actual musicians.
Ultimately, we’ll get the kind of music the market demands. And we”ll have only ourselves to blame or to thank.
July 10, 2014 @ 3:08 am
“Bzg” = BG. Typo….
July 10, 2014 @ 5:26 am
I’ve said since I first found this website that my idea of “saving” country music is having musical diversity marketed and available at the highest levels.
At the end of the day it’s not Country Rap that bothers me; it’s the fact that for 1-2 years everyone chases the trend so it’s all you hear.
It’s not Taylor Swift that bothered me, it’s the fact that everyone tried to have a pop crossover for 2 years after she did.
Guilty admission: I like Rascal Flatts. Not because they’re the next Stanley Brothers, but because they make solid music dancing around the borders of adult contemporary, country, and pop. I once heard one of them say in an interview, “People criticize us because we’re not Johnny Cash. Well we never wanted to be Johnny Cash, we wanted to be Chicago.” Well if that doesn’t sum it up, I don’t know what does. Rascal Flatts: The Chicago of Country Music
Mark this down: the lack of diversity within a genre is what kills a genre (see: metal, hair). This has nothing to do with crossing genre lines and/or achieving broad popularity. It has to do with maintaining a healthy diversity of music while some (not all) experiment around the borders (plural, not just one).
If Scott Borchetta is willing to be the cause and solution to all of of the problems of country music, I welcome it with open arms.
July 10, 2014 @ 5:53 pm
Rascal Flatts has been one of my favorite acts for a long time. I say this without a shred of guilt. They are by and far not real country acts. But as you note, they have always been honest about what they are. They’ve never pretended to be real country music. And the fact is that they have made some really heartfelt and touching songs.
Skin (or Sarabeth) is one of the best songs country radio saw in the 2000’s. “Like I Am” and “My Worst Fear” from their sophomore album were both really solid songs that just felt really genuine.
I’m actually really sad that they felt the need to try to pander with songs like Banjo and Payback from their latest two albums. Changed was an album with some good deep cuts though. Rewind has failed to impress me after 3 listens. There’s a few songs that I like, but I feel like they haven’t tried anything new with this one. I hope they put out something better next time.
July 11, 2014 @ 12:14 am
I’ve never been a fan of Rascal Flatts, but I do respect your point and agree that the vast majority of their career they’ve been consistent in doing their own thing and not jumping on trends with full force.
However, I did listen to their latest album “Rewind” and, unlike with any previous album of theirs, I couldn’t help but think it sounded like they were finally caving into shifting demographic trends to a significant degree. On about half of that album’s tacks, they sound like they’re pandering heavily to the youngest demographics much more insistently than they ever have and, most notably, acting two decades younger.
It has to be called as its seen: pandering. Their current single “Payback” is a clear example of this, but so are “DJ Tonight”, “I’m On Fire”, “Honeysuckle Lazy” and “I Like The Sound Of That”. Then you have the other half of the album consisting of the kind of material they’re used to covering like “Riot”, “Night Of Our Lives”, “Powerful Stuff” and “Aftermath”. So I felt Rascal Flatts were trying to have it both ways with “Rewind” in spending half that effort appeasing their loyal traditional fans, while dedicating the other half to mine the younger listening demographics for instant commercial gratification.
Time will tell if “Rewind” is a one-time effort of this sort or if this the beginning of a larger realignment for Rascal Flatts toward scrapping that Chicago of Country image and instead just chasing radio hits even if it means deviating from so much of what they used to do.
July 10, 2014 @ 7:24 am
Bro Country related. Dallas Davidson arrested:
http://www.tmz.com/2014/07/10/dallas-davidson-arrest-nashville-wives-sarah-country-star-fighting/
Do the voodoo that you do my friend!
July 10, 2014 @ 8:59 am
Doesn’t surprise me that a raging misogynist would also be a raging homophobe.
July 10, 2014 @ 7:53 am
At the end of the day “The country music antichrist” is a business man. He is analyizing his market for trends and marketing them to his consumers. He is better at it than most, if not all in his field. The Brantley Gilberts of the world have the basic vocal abilities to sing decent “country” songs BUT choose, for financial reasons, to be managed jn a manor that is beleived to be most lucarative at the time. The independent artist is rare. They are willing to sacrafice bigger paychecks and more fame for the sake of art.That is why for me, while I understand why the industry is how it is, I reserve my artistic respect for guys like Robert Earl Keen and Ray Wylie Huibbard and so many others that choose to forge their own paths no matter what.
July 10, 2014 @ 12:36 pm
Oh, when I saw that Borchetta and his minions were going to”dig a little deeper,” I thought it meant they were going to dig a little deeper into the fan’s pockets and get every last penny, lint and all….
July 11, 2014 @ 11:55 am
This is a website dedicated to saving country music. Brantley Gilbert is not a country artist in any way, shape or form. We need not bring the conversation any further than that really.