Song Review – Kacey Musgraves’ Disco-Infused “High Horse”
We still don’t have a proper radio single from Kacey Musgraves ahead of her new album Golden Hour, but we do have another song. Two songs were released simultaneously a few weeks ago—“Butterflies” and “Space Cowboy”—but neither presented themselves as a single initially. Then UMG Nashville let it be known that both would be sent to radio, which is similar to fielding a football team with two quarterbacks, which is basically admitting you have no quarterback at all.
Neither of the first two Musgraves songs is being promoted in mainstream country’s radio periodicals. Her label is just shipping the files to radio stations and saying, “Here, if you want to play them, that would be cool.” Meanwhile “Space Cowboy” has been streamed over 2 million times on Spotify and might make a great single. But there doesn’t seem to be even the will to try from Music Row.
Then here comes the latest song from Kacey Musgraves, “High Horse.” This was preceded by long pieces in both GQ and NPR seeming to steel us for the possibility that Kacey’s Golden Hour would not be very country—calling it “gutsy” and “innovative”—which in some ways was a bit contrary to what we were hearing from the first two songs, “Space Cowboy” and “Butterfly.” Neither were traditional mind you, but they fit well into the previously-aligned Musgraves mold, if maybe a bit more progressive in style.
But “High Horse” is what all the talk about Musgraves challenging the borders of the genre, and being inspired by the Bee Gees was leading to. It’s disco country if you will, and Kacey and her proponents in the media want you to know this is Musgraves asserting her creative freedom, being unwilling to be hemmed in, and innovating in the otherwise stuffy, and slow-to-change country music space. Kacey Musgraves has evolved beyond the kitschy cowgirl motif.
But once again this is an intellectual shell game that doesn’t seem to take into consideration the simple timeline of music in general. Disco is a 40-year-old musical art form. There is nothing new or “gutsy” about it. If anything, it’s safe. Same can be said for integrating disco with country. This is what Country Music Hall of Famer Jerry Reed built his popular career upon in the 70’s—cross pollinating funky rhythms with traditional country instrumentation and themes. J.J Cale did the same. Waylon Jennings even did it on a few select tracks, as did others. Barry Gibb of the Bee Gee’s wrote scores of country pop songs in his day, including “Islands in the Stream,” and Conway Twitty’s “Rest Your Love On Me.”
It’s similar to how we’re told rap is innovative or evolutionary in country when it is also 40-years-old, or even drum machines and synthesizers. Even the MIDI interface and digital recording has been in widespread use now for a quarter century. None of this is “new” or “evolved” or “innovative” or “gutsy,” even for country.
The degraded audio that starts “High Horse” and eventually resolves into the full signal was a technique first employed in popular music by Daft Punk’s “One More Time” nearly 20 years ago. Golden Hour producers Ian Fitchuk and Daniel Tashian of the Silver Seas may have high fived each other in the studio when they mixed this track for pushing country somewhere it’s never gone before, but that just an opinion lacking proper context.
In fact one of the most problematic things about the track is how formulaic disco the structure and approach is. It sounds like every other bland disco song. What made the Bee Gee’s so timeless was taking disco into different directions. The only way you can call “High Horse” unique is by labeling it as a country song, which it isn’t. And then it runs afoul of proper genre labeling.
None of this makes “High Horse” bad though, or even problematic beyond the surface. The reason disco has been a guilty pleasure for generations is because it’s fun and infectious, and it’s fair to label “High Horse” both these things. A disco song like this may feel formulaic, but so does three chords and the truth if it’s served without any twist or spice. Mixing disco and country music not be unique in a greater historical context, but that doesn’t mean it’s not a fresh-sounding approach for the here and now.
The lyricism of “High Horse” is about a party pooper who is too cool for school, and is looking to rain on everyone’s parade, similar to—I don’t know—a critic of a song like “High Horse.” The writing is not a burden, but it doesn’t really feel like an asset either. Once again Musgraves relies on judgementalism and allusion to country themes to convey her message that ultimately resolves to “Mind your own biscuits.”
Probably even more so than the first two songs from Golden Hour, “High Horse” deserves to be regarded in the context of the album before any full, ultimate conclusions are made about it. In fact all songs from artists like Musgraves who believe in thematic and sonic arcs to albums instead of each song being a completely autonomous endeavor should be regarded in this way. And high horse critics probably should heed the message of this song that hey, some tracks are just supposed to be fun.
But ultimately, “High Horse” feels more like a gimmick than a song. Maybe it will make more sense in the context of the album, or maybe it’s what will make more folks pay attention to the more meaningful songs of the album. But for this disco duck at this moment, it’s just “meh.”
March 22, 2018 @ 6:42 pm
Ok.
I can’t stand Musgraves.
but this… is different.
I like it.
I don’t know “Why” I like this, especially since her music normally irritates me.
but this is neat.
March 22, 2018 @ 8:41 pm
I have a hard time understanding you, Fuzzy. This is actually the most irritating thing I’ve ever heard from her.
I have been generally positive toward Kacey, although not nearly as effusive as most. And it’s the kitsch quality to her songs that distracts too often, and this is just another level of distraction. When will she do something that doesn’t sound kitsch? How about something that makes you feel something deep inside? I still haven’t heard that from her.
March 22, 2018 @ 8:44 pm
She seems so calculating. Like she’s a point of view or a style looking for a song or sound. Who is she really?
March 23, 2018 @ 3:23 pm
She wants to be the Katy Perry of country.
March 27, 2018 @ 6:18 am
That would be so depressing.
March 22, 2018 @ 11:34 pm
You’ve described exactly how I feel about Kacey but couldn’t have put into words. Her music is juvenile, preachy, judgmental, guarded, negative, and guarded. She shares nothing of herself. I can’t tell a single story about Kacey or an emotional experience of her. She doesn’t write about feelings or experiences, she writes her opinions. Her music is like an op-ed in a college newspaper set to tinny music. Every song is just Kacey rolling her eyes and lecturing. It feels like she’s rejecting you before you can reject her.
The amount of praise she receives is so unearned – especially in comparison to her peers. Trigger posted his opinion that All American Made was overpraised because of Margo’s progressive politics, but I think that’s way more true of Kacey. There’s more emotional depth and conviction in Hands of Time than there’s is in Kaceys entire discography. Hell, there’s more emotional depth and conviction on on Taylor Swift and Fearless than SAme TRailer and pageant material.
March 23, 2018 @ 8:27 am
She’s the Allison Reynolds of country music’s Breakfast Club.
March 23, 2018 @ 9:05 am
“A” — you did a great job of putting it in your own words. I agree completely!
March 23, 2018 @ 8:00 am
just my opinion: but her past material is just schmultsy silly and goofy.
and this seems more like an actual serious piece of music.
March 22, 2018 @ 6:49 pm
Kacey continues to disappoint. “Space Cowboy” is nothing special and “Butterflies” is simply weak on every level. However, this disco shit is awful. She doesn’t get a pass because she is a girl in country music. This is legitimately as bad as anything the bros have been putting out for years now. I’m actually shocked she is releasing garbage like this. I have no interest in buying this album.
March 22, 2018 @ 6:49 pm
global pop monogenre moralizing
pass
March 22, 2018 @ 6:50 pm
You’re saying that infusing disco into country isn’t innovative. I get that. It isn’t. What positive innovations has country music had stylistically in the last 40 years?
March 22, 2018 @ 6:53 pm
how old are you?
March 22, 2018 @ 6:58 pm
35.
March 23, 2018 @ 6:19 am
Somewhere between 0 and the square root of cock-all.
But that’s still not an argument for poorly realized non-innovations.
March 23, 2018 @ 6:33 am
Replying to myself now… I quite like this. Not least I’m looking forwards to a degree of frisson from hearing a disco song on the radio with the words ‘Giddy Up’ used with gay abandon. I’m English, and trust me we have a dearth of ‘Giddy Ups’ over here.
Don’t really understand the people dissing her lyrics. As a 51 year old bloke I’m hardly her market, but I can see hear the smarts in them, and ‘It Is What It Is’ is a non-age specific little belter. Besides… girl does *tunes*
March 22, 2018 @ 7:01 pm
How convenient that the lyrics are about a party pooper. It’s as if this entire song is designed in a way that if you don’t like it, you’re on a “high horse.”
Disco is cool. I have no problem with it, but this is just embarrassing.
And to be honest, I really don’t feel like she has anything interesting to say as an artist. It’s all about leave me alone and live and let live. That message is fine, but it’s so damn redundant with her music.
*shaking me head*
March 22, 2018 @ 7:33 pm
Agreed. Kacey’s always been one of those artists for me I just couldn’t get into no matter how hard I tried, not for a lack of talent, but she’s just never quite “clicked” for me. Bummed for fans of hers/country that she’s releasing songs like this though.
March 22, 2018 @ 7:49 pm
Yes, her most genre-stretching song has a built-in rebuttal to its critics. At least it shows presence of mind.
March 23, 2018 @ 7:32 am
I think the built-in rebuttal is cheap.
Psychologically it’s interesting in a chagrined, pitiable way.
I like people who are forthright, honest, and passionate in their songs. None of this smirking and shieing away, which is juvenile.
I’ve also never heard any depth in Musgraves, or even real experience. What I hear instead is slick production and sparkly surface. Shallow.
Jaime Wyatt, all day.
March 22, 2018 @ 7:27 pm
Unimpressed with all 3 recent Musgraves releases thus far.
March 22, 2018 @ 7:27 pm
I thought the Bee Gees were great until they went disco. Hopefully this is a playful interlude for Kacey. I can see it being a pop favorite, in kind of a fun Meghan Trainor way, but no, it’s not country. Neither is it offensive, though.
March 22, 2018 @ 7:28 pm
Chorus is catchy, but that dang pre chorus derails the whole song. Too wordy and terrible flow with the melody.
Still, her absence from country radio makes no sense compared to what’s peddled across the airwaves. Her style can reach in many new directions and bring new listeners to the format. And her throwback side helps too, stuff like The Trailer Song is just great classic waltz gold.
March 22, 2018 @ 7:44 pm
This sounds exactly like what Thomas Rhett did on the track “Tangled Up,” only worse.
March 22, 2018 @ 7:49 pm
If this is disco then I’m Glen Campbell. This song should not be mentioned in the same sentence with the Bee Gees. Just more pablum passed off by Nashville. Like passing gas. Sickening. Can’t this girl sing on pitch? Does she have to be plugged into an obvious vocalizer to sing on key? Give me the unique voices of The Highwaymen. “Waylon, Willie, and the boys.”
March 23, 2018 @ 12:10 am
Yeah….cuz Kristofferson and Johnny had PERFECT pitch …
March 23, 2018 @ 2:16 pm
Or, for that matter, the Bee Gees. Stayin’ Alive has a fantastic groove, but it’s marred by the minor detail that the Brothers Gibb are as shrill as an alley cat in a blender.
March 22, 2018 @ 7:56 pm
If you’re looking for innovation, check out Haley and Michaels new single, “Me Too.”
March 22, 2018 @ 8:12 pm
I really hate this. And not because of the influence, or because she’s stretching her sound, or whatever, just because it’s just so damn boring. It’s as boring as the Keith Urban track we all ripped yesterday, just without the Merle Haggard riff to make it stick out and become awful.
March 22, 2018 @ 8:21 pm
Trigger, my comments are still linking wrong unfortunately. I’ll try this one with a different email and re-type the site name.
March 22, 2018 @ 8:41 pm
We’re working on this.
March 22, 2018 @ 8:39 pm
But it’s brave or progressive or whatever the cover word is.
March 22, 2018 @ 8:37 pm
I’m fascinated by the tendency of so many young or at least youngish country performers to so quickly veer from the genre after starting out firmly in the boundaries. Take Musgraves and Simpson for example. Why was country not enough for them. Were they just not that into from the get go? It’s not like they are unique talents. Merle, Strait, Jackson all were able to continue in the genre and make good country music to varying degrees with making a rock record or disco or whatever.
Is it just inevitable for this to happen to anyone who has success in these times?
All very interesting to me.
March 22, 2018 @ 8:41 pm
Can throw Maren Morris in this also but I’m not sure she had enough of a country track record to qualify. She just seemed like more of a sleeper agent.
March 22, 2018 @ 9:39 pm
Don’t you think many of them are looking for that Taylor Swift pop crossover sucess? Granted Morris nor Musgraves have as much country cred to start with but Taylor’s huge pop sales and tours have to look very inticing.
March 22, 2018 @ 9:55 pm
Yes. Taylor Swift, especially for a certain number of young women in ‘country’ music was probably the standard. And like everything else in society the process is sped up to the max. Where Swift spent a few years and several albums playing the country game with someone like Maren Morris is one single then pop here she came.
Taylor Swift and Florida Georgia Line have probably influenced country more than any other acts the last ten years. Both shifted what is acceptable.
March 23, 2018 @ 2:21 pm
For Kacey, at least, it doesn’t seem like her record label even cares about promoting her anymore. She probably could get something onto pop radio if there was a real push – hell, I always thought her Same Trailer, Different Park stuff would have fit right into 2013’s pop landscape. And obviously Maren Morris is in the top ten right now performing on an EDM song. Kacey seems like she’s been set adrift by comparison, though.
March 22, 2018 @ 9:24 pm
It has become fashionable to believe that the country format is too constricting to be creative, and this has been whipped up in part by the media looking for narratives surrounding artists. Of course, Sturgill had grand success with this model, and so now everyone else is following along, which isn’t creative, it’s trend chasing in itself. I don’t want any artist to be constricted either, but there’s noting creatively constricting about country any more than disco or any other genre. Ultimately, this is the age of the song. If you’re trying to revitalize disco, it’s not a marker of creativity, it’s a marker that you’re out of ideas.
March 22, 2018 @ 9:32 pm
Well rock music basically died as a mainstream mass music genre so I guess it can’t be that shocking that it has happened to country music.
March 22, 2018 @ 9:37 pm
If we go with what everybody says that Stapleton isn’t really country then what was the last bonafide country album or song to sell really big. Been awhile. It’s been dead commercially for a long while I think.
March 23, 2018 @ 5:43 am
Jamey Johnson’s That Lonesome Song in 2008? Went platinum.
March 23, 2018 @ 6:45 pm
It was hardcore country and was very popular. One of my, if not my favorite album of all time.
March 23, 2018 @ 4:22 am
Saying that country music is too restrictive to be creative is like saying the blues are too restrictive to be creative. Yeah, both largely focus on a 3 or 4 chord structure but that’s where the challenge lies.
March 23, 2018 @ 6:32 am
I think the blues and country genres are two that have pretty much existed from the beginning of recorded music and commercial radio. Of course, country is still a mainstream genre and the blues is a niche one that seems to be getting smaller and smaller. If there was such a thing as a bro-country or metro-bro equivalent in blues music, there would be a lot of blues fans like me pushing back, but we’d be the proverbial tree falling in the forest that the larger public wouldn’t hear. Of course, this is never going to happen, because there’s no money in it.
March 23, 2018 @ 8:42 am
I think it’s woefully poetic that there is no money in blues. When I think of blues, I realize how limited I am in this genre though I like the way some it sounds, I think of Mr. Banker by Skynyrd. I think of that guy talking to the banker and trying to get some money. Like I said, I don’t have a lot of knowledge about blues, but I think of people that don’t have a lot or have songs that talk about not having a lot and the genre itself has a very low floor and pretty low ceiling in terms of financial yield.
March 23, 2018 @ 8:42 am
To me, country music is like a standard art kit that you get. You take the existing materials and you create something from them. The appreciation comes from the execution, not so much from experimentation.
Sturgill incorporated the box the kit comes in, and that was cool–once.
March 22, 2018 @ 9:39 pm
I feel like that generation (which includes me since I’m the same age as Kacey) grew up listening to a wider variety of things than those that came before and it leads to blurring the lines between genres more. Older artists grew up listening to the Opry and western swing plus things like early rock ‘n roll and blues, which still had quite a bit in common with country at the time. Artists of today grew up in the ’90s/’00s and likely grew up listening to the country that was big during that time period (Strait/Jackson/Garth/Shania and a slew of hat acts) as well as boy bands, rock groups like Nirvana, and their parents’ rock and pop records from the ’70s and ’80s.
So I think they have more wide-ranging influences and like to play a little bit of everything that they listen to.
March 22, 2018 @ 9:49 pm
Maybe with the older Willie and Merle generation. But Strait and Jackson came of age in the seventies when virtually all kinds of music from Zeppelin, disco, soft rock, R & B, to country were very popular yet country was enough for them. So I understand your point but it doesn’t fly for me because you can appreciate different types of music without mixing them together as that almost always weakens both genres.
March 23, 2018 @ 8:37 am
Yes, and as I have pointed out before, Jason Boland has gone on record as being a fan of classic metal bands like Pantera and Iron Maiden, and he’s the most traditional Red Dirt artist out there.
March 23, 2018 @ 12:47 pm
Or as Vince Gill told me once, “If Merle Haggard were coming along today, there is zero chance that a kid from Bakersfield wouldn’t be influenced in some way by hip-hop, even if he still tried to make it in country.”
March 22, 2018 @ 9:19 pm
I don’t like this newer album at all. And responding to what I read from Musgraves’s interview with GQ, I don’t like her justification for it. It’s sad as I followed her music for years and not one album truly let me down, but it’s different when no real change in that caliber was asked for from her latest fans. I can’t speak for anybody aside from me tbh, but I just want to hear more of what I already like. And I know that I like her music otherwise; however, it’s just that only two albums + more digital singles EPs etc. not counting the Christmas album (which I personally did like) are still readily available/still in print and, and after I heard from it, I just want to hear more. Perhaps other artists? Musgraves’s style with her particular way of telling stories has not been overlooked to me at least.
March 23, 2018 @ 9:16 am
Along with some artists feeling like country music is too restrictive for them, they feel the same way about fan expectations. Yes, these performers are artists. But they’re also entertainers. I don’t want to hear someone who has the elite privilege to make music for a living telling me how burdened they are by having to play the music their fans want to hear, especially when so many artists in country don’t even get to make any decisions about their music. They’re made for them. Kacey’s one of the few on a major label that gets to do what she wants.
March 22, 2018 @ 9:21 pm
As someone who is a fan of Kacey and doesn’t mind disco, I really wanted to like this, but sadly I don’t. My biggest problem with it, as NickW19 pointed out above, is that it’s thematically way too similar to much of her previous work. One of the reasons I like both “Butterflies” and “Space Cowboy” is that they show a different side of her that we didn’t see as much on her first two albums, and therefore I find them refreshing. Still looking forward to the new album, though.
March 22, 2018 @ 9:49 pm
Despite this being the least country song she’s released from this album, I think it’s my favorite. I don’t mind pop being mixed with country as long as it’s done well, it’s just that most pop-country artists do it terribly. For whatever reason, Kacey’s cocktail of disco, pop, and a dash of country just works for me.
March 22, 2018 @ 10:08 pm
It sounds like more of an innocuous, catchy dance pop song to me than an actual ’70s disco throwback. I also wouldn’t call it disco country because there really isn’t anything country about it. It sounds like something that would fit seamlessly into an adult contemporary playlist – not too different from Taylor Swift’s pop singles off “1989” or Urban/Underwood’s “The Fighter”. Which makes me wonder what her motivations are here. Is she going to try for a pop crossover bid, is she going to push the song to country radio thinking that the dance-pop influence will get her noticed, or both? I could also easily see her going after the club market with this track.
Incidentally, another artist who blazed a trail as far as forging a bridge between country and disco was none other than Dolly Parton. “Two Doors Down” wasn’t a disco hit but it had a definite disco influence. And a year after that, she did go after the disco audience in earnest with “Baby I’m Burnin'”, which became the first record listed on the pop, country and disco charts simultaneously (though released as a double A-side with “I Really Got the Feelin'” which was more in the Olivia-Newton-John-circa-1974 mode of MOR-pop country).
March 22, 2018 @ 10:45 pm
I don’t hear the disco either. This generic, fluff sounds like something you’d hear in a gay bar in the late 90’s.
March 23, 2018 @ 6:57 am
Too young, maybe? If I was in that gay bar in the ’90s and a song like this came on, I might have stereotypically thought something like “boy, gays still love their disco, don’t they?”
March 23, 2018 @ 9:18 am
This track is extremely disco. Kacey wants you to think disco when you hear it. She has said as much. That is the entire purpose of to song.
March 23, 2018 @ 1:41 pm
Here’s a classic disco beat: https://www.youtube.com/watch?v=qeUfDTn5huM
March 23, 2018 @ 1:52 pm
Is that a fucking flute?
You know what? I have no idea what makes a song disco. I saw Boogie Nights once and spent one night at a Have a Nice Day Cafe and I thought that made me an expert. Apparently not. My life was better before I went down this rabbit hole.
Going forward, I will not comment on any articles concerning the following:
Turnpike Troubadours
Randy Travis Spotify Playlist
Kacey Musgraves
March 27, 2018 @ 6:48 am
Indeed, that is a fucking flute. I think The Hustle is thought to be the first disco song, or at least, first popular song tagged with that label. Strangely enough, I remember where I was the first time I heard. Was with two friends listening to Dr. Demento’s radio show. I think the song came on shortly after the show was over and it was back to regular pop music programming. I remember not disliking it and was probably happy not to hear Captain and Tenille’s Love Will Keep Us Together for the millionth time or some other 70’s cheese. Shortly thereafter, I made the switch to rock radio and then became an anti-disco reactionary.
March 25, 2018 @ 11:40 am
I think that’s the real reason behind this track. Kacey has A LOT of gay fans. She probably wants to increase her following by making something that will get played in gay clubs.
March 22, 2018 @ 10:20 pm
Don’t dislike this song, but don’t really like it either.
Meh.
What was she trying to say with this again?
March 23, 2018 @ 6:20 am
Maybe if you’d get off your sniffing, passive aggressive high horse for just a minute, you’d get the message. 😉
March 22, 2018 @ 10:43 pm
I’m relieved because I can now stop paying attention to Musgraves. There’s too many artists who require my attention who take the genre serious and have something worth while to hear.
March 23, 2018 @ 12:06 am
So I hear you Trigger . And you aren’t wrong . And you aren’t right ….
This is a clinic in the craft of songwriting and works on every level .
From the get-go it is rhythmically infectious…undeniably so even by disco haters ( ….fess up ….we were all tapping our toes or tapping the desk to this groove ) and COMPLETELY dance-able . I can’t name 3 recent ” country ” songs that are danceable .
A hallmark of Ms Musgraves superb songwriting is her simple but freshly crafted conversational lyrics. Nothing gratuitous about this one at all …..its sincere in sentiment and viewpoint , its not generic , it doesn’t sound forced or cliche , it isn’t the least bit offensive , it isn’t ‘Indie Cryptic “, contains no trendy buzz words or contemporary slang , no hip-hop-isms ( rhyme within a rhyme within a rhyme which comes at you so unnaturally quickly you wanna scream ” FOR GOD’S SAKES BREATHE…..just F****** BREATHE ” ). Its just a smart , accessible and memorable lyric.
And the piece de resistance ????….. Her damn- the- torpedos , damn -radio , damn -Indie-ness, damn small ” S ” songwriting MELODY .This thing has ( to steal a phrase from a song review many years ago in reference tho the popular fishing program ) ” more -hooks- than- Ted -Peck- on- a long-weekend ” It is INFECTIOUS top to bottom , ‘inside and out'( yes that’s a Bee Gee line …pun absolutely intended ) . If a country writer is gonna be influenced by pop music , would you rather it was by Drake , Kanye , Lamar …or the Bee Gees ? I think most of us here know the answer to that one . And so does Kacey .
Which brings us to the ” Is this COUNTRY ” question .
Hmmm…was ROSE GARDEN country ?….was GIMME A REDNECK GIRL country ? ….was LET YOUR LOVE FLOW country ?
I will listen to this all day long next to the shit being shoveled at us by ” country ” radio .This woman is nailing it on all fronts .
March 23, 2018 @ 12:49 am
It’s sad. Kacey was one of the last remaining female voices that Mainstream Country Radio would play. Her complete lack to push a proper single their way and now this naked stab at a place on the Billboard Hot 100 is a clear sign that even she’s given up trying. All the diplomatic fine lines she walked with “Follow Your Arrow” and “Biscuits” …And to just walk away? At the height of #MeToo… As iheartmedia is tumbling down… More and more it’s sounding like she’s eulogizing her career in Country music with the “Space Cowboy” lyrics.
But if “High Horse” is where she’s at artistically and lyrically then maybe it’s best that she goes off and airs out her brain fart elsewhere. Kacey’s suffering from an obvious case of the “weird-third-album” blues… (Third major label album anyway) Her contemporaries are new mothers singing about growing up (Brandi Carlile), getting ambitious and expansive (Caitlyn Smith), cinematic and ruminative (Bonnie Montgomery) and doubling down on their sound and message in spite of mass indifference (Margo Price). And so on and so on. The genre’s in no shortage of talented women coming up ready to take her place. Jamie Wyatt. Carter Sampson. Whitney Rose. Lillie Mae. Rhiannon Giddens. Lindi Ortega. Alice Jayne. Nikki Lane.
If that Cowboy wants her space, then she can have it.
March 23, 2018 @ 12:49 pm
I couldn’t tell you what *year* it was that I last heard a mainstream country station play Musgraves!
March 23, 2018 @ 4:48 am
I have never liked her lyrics most of the lyrics to her songs are simply awful. Her sound on the other hand is phenomenal. Looks like she’s throwing her sound away on this album. If if this sounds not good there’s not really a reason to be listening to Kasey Musgraves in my opinion
March 23, 2018 @ 5:00 am
Somewhere Olivia Newton-John approves and is smiling.
March 23, 2018 @ 5:32 am
Disco isn’t the worst thing that has ever been infused into country music. Barbara Mandrell’s version of “I Was Country When Country Wasn’t Cool” has a decidedly disco feel and its a great song.
March 23, 2018 @ 6:05 am
If it’s even possible, this makes me appreciate Brandy Clark and Courtney Patton all the more.
March 23, 2018 @ 6:07 am
I like this. Kacey is effectively shunned from country radio so why should she try to do anything to please a certain crowd. I actually feel like she’s in the perfect position to bend genres and experiment with her sound. She’s built a solid fan base so I don’t think anyone’s going to really turn away from her. Again, I enjoyed the song on first listen but I feel like it will make more sense within the context of the album.
March 23, 2018 @ 9:22 am
Aha….exactly . SHE’S NOT TRYING TO PLEASE A ‘CERTAIN CROWD”.
Nobody writes like , dresses like , sings like , looks like and could , seemingly, care less about pleasing a genre ….or a gender …..or a generation ( …yeah ….I saw it …lotta ‘g’s ) . She just writes what she feels the best way she can write it , couches it in originality and gives it to the world .she has a SOUND because of that fearless approach . She’s not chasing trend , appearances , not squandering her ‘shot’ , as it were , and …voila ! She has a fan base that gets it .
How many acts in ANY genre-especially country -take that approach ? She’s nobody’s wannabe .
Check out Rae Lynn’s new song . SOOOO musically generic /derivative its unlistenable .
March 23, 2018 @ 6:08 am
When a Kylie Minogue song (“Dancing”) sounds more “country” than a song by an artist who is signed to a Nashville/”Country” record label…meh.
The next attempt to change the sound of country music & push the monogenre.
When “country” radio is playing the Kacey Musgraves song (or Keith Urban, Thomas Rhett or Bebe Rexhername)…it must be “country” because “country” radio is playing only “country” music! Right? WRONG!
When i want to listen to classic- disco/vocal-house/garage/trance/dance-pop/italo-disco/euro-dance i listen to the real stuff & not a Nashville/”Country” artist who started as the real deal & is recording a little bit of this sound & a little bit of that sound now without a sense of direction.
Guess i listen to a couple of italo-disco classics now: Baltimora – “Tarzan Boy” / Valerie Dore – “The Night” / Silver Pozzoli – “Around My Dreams” / P. Lion – “Happy Children” / Miko Mission – “How Old Are You” / Ken Lazlo – “Don’t Cry” / Savage – “Don’t Cry Tonight”…
March 26, 2018 @ 12:03 pm
Kylie doesn’t care about genres, she did the same as “Dancing” a long time ago with “Please Stay”. She knows pop is versatile so all music genres. She knows “Dancing” is not country and she will not interfere with the country charts, she knows she will always be a pop and house queen.
That being said “High Horse” is boring. But the other new singles of Kacey are doing pretty well on Spotify. And I really liked “Butterflies” which is not country either, it’s more pop than anything.
March 23, 2018 @ 6:22 am
we got some puré country and also here some puré shit-
March 23, 2018 @ 6:35 am
You could put Taylor Swift’s name on this and nobody would notice the difference (other than her voice would sound better than usual). Seems that Kacey went out to do a Tayloresque pop song and nailed it. In fact, i’d say she did Taylor better than Taylor did Taylor on Taylor’s most recent album.
March 23, 2018 @ 7:02 am
– I don’t think it’s a particularly good song (mainly because her delicate, lower-key voice isn’t meant for something big and soaring like this), but I can understand why people do. It is fun, catchy and interesting.
But the “double standard” does bother me. Not necessarily from her – but from the broader online community in general. Even if it’s a better overall song with better lyrics (and of course it is), I don’t see why this is sonically anymore respectful to country than, say, Thomas Rhett’s disco-ish “Make Me Wanna.”
I’m not as married to rigid genre lines as some people are, so these kinds of songs don’t necessarily bother me. But if other “country” artists incorporating EDM, R&B, funk, rap, etc elements into their music offended people, I just don’t see why this shouldn’t as well.
– For the people who ARE criticizing her for making a shift, I think it’s important to consider context.
Hipster-pop publications like Pitchfork & The Fader (as well as hipster-pop fans) have embraced her to a far greater extent than country radio has. And that may even be true of the entire country community — from looking at the recent comments here, it appears country traditionalists don’t like her (which is really weird to me – I thought she was revered).
So why shouldn’t she lean further into the tastes of her biggest supporters?
March 23, 2018 @ 7:28 am
I do agree that she seems to be getting more support from “hipster” brands than country publications (mainstream or not). This is a very good point that she “throw them a bone,” so to speak. I have a feeling that this is more of a token gimmick track as opposed to the sound of the whole album, but we will just have to wait a week to see.
March 23, 2018 @ 9:22 am
Periodicals like Pitchfork, The Fader, Noisey, etc., who do not have staff country writers and only know the genre from the outside looking in, love to spread their, shallow, misinformed opinions about country to the point where I do think some artists are reading them and it’s being baked into the music.
March 23, 2018 @ 7:14 am
This song flat out sucks. It doesn’t sound even remotely natural to her voice and is absolutely, 100% forced. I’m so sick of these artists who act as if country music is restraining in any way. So Kacey Musgraves can create great country music. Turns out she can’t create great disco pop music. Imagine that.
If it’s offensive to tell Kacey Musgraves and other artists to stay in their lanes, then so be it. Kacey, stay in your lane because your art suffers when you disrespect your natural talent. Don’t like being an artist who only specializes in Country music? Talk about a lack of gratitude for a gift of talent that isn’t given to most people.
“High Horse” is fit for looped audio torture, and that’s about it.
March 23, 2018 @ 7:17 am
All it made me do was want to go play my favorite female Country album right now. Sunny Sweeney’s Trophy.
This is an embarrassment for Country even if I think the song is ok for what it is, I’m pretty sure the album won’t be listenable. Then they wonder why there’s so few female Country headliners? It’s because most want to be Pop stars……….sadly they never will be.
March 23, 2018 @ 7:21 am
UMG appears to have no radio plan, and it’s incredibly frustrating. Space Cowboy should have been the single and promoted to radio. Everyone who heard from a room knew Broken Halos was the way to go (over Either Way) for radio, and lo and behold they finally released it and Chris gets a #1. Now they’re releasing Midnight train to Memphis? Which makes no sense as opposed to Millionaire, which would probably give Chris back to back #1’s.
And yeah this song doesn’t do much for me, it feels like Kacey is trying to hard to be “edgy”.
March 23, 2018 @ 7:37 am
While you’re right about Chris Stapleton, the Kacey situation is trickier.
“Butterflies” is blowing “Space Cowboy” away on YouTube. Space Cowboy did a bit better on Spotify, but it also had better playlist positioning during its first week.
And it looks like the early supporters at country radio have shown more interest in Butterflies.
On top of all that, neither sold particularly well during their first weeks on iTunes.
Now, you can make the case that UMG shot itself in the foot by releasing the two songs in tandem – but as it currently stands, I don’t know if it’s fair to say that Space Cowboy has established itself as the OBVIOUS single choice.
March 23, 2018 @ 9:24 am
It’s because they’re competing against each other. That was the fundamental mistake releasing them at the same time. That never works. In fact, I can’t think of another example where that’s ever been tried.
March 23, 2018 @ 7:22 am
That song could be taylor swift, demi lovato, Selena Gomez, or any other Disney kid created in a laboratory and raised by autotune. Voice enhancers should be outlawed.
March 23, 2018 @ 7:28 am
Trig – just as an anecdote FYI, XM’s “The Highway” has been pushing “Butterflies” pretty hard
March 23, 2018 @ 7:43 am
I have mixed feelings about this song. As a fun, pop/disco song, I think it is fine, and I would enjoy playing it in my car while driving my kids around. However, as a track from the same woman who made Same Trailer, Different Park and Pageant Material as well as my favorite Christmas album to come out in several years, it is puzzling. I think that this may be a bit of a gimmick track. I reserve judgment of it until we hear it in the context of the album. If it is a track placed towards the end of the album to add a pick me up change of pace, I’m fine with that. However, if it is representative of the whole album, I will have to rethink who Musgraves is as an artist now.
Evolution is not necessarily a bad thing, but it does not mean that you have to follow an artist through all their changes. I think Sturgill will continue to record different music, but it will continue to be interesting and thought provoking, no matter the genre. If Kacey can make compelling music, regardless of genre, I will continue to follow her. However, if she migrates to being a generic pop star, I will not be tracking her career so closely.
I do want to note that I have been concerned about how Kacey’s music will translate to the wider pop audience since she is opening for Harry Styles in an arena tour this summer. She may be adding more pop tracks into her repertoire to not alienate that crowd. Every artist does modify their setlist for the crowd. In my opinion, Sunny Sweeney’s best and most effective song is “Bottle By My Bed,” but she did not perform it when opening for Cody Jinks at the Ryman. While I was dying to hear that song live, it maybe would have put a damper on the thousand plus rowdy Flockers in the audience.
March 23, 2018 @ 7:46 am
Trigger criticizing a Musgraves track and giving it a negative review? What weird timeline have I been sent to this time?
March 23, 2018 @ 7:52 am
not country for sure, but kind of fun. I don’t love it, but I can’t say I hate it either.
March 23, 2018 @ 7:55 am
My third grade class came up with better insults than these lyrics. That was a private Christian school. (We were better singers, too.)
March 23, 2018 @ 8:04 am
Madonna goes country. got it!
March 23, 2018 @ 8:12 am
Kacey Musgraves is someone that I find to be an interesting person, but can’t get enthused by enough of her music to actually buy an album. I like the couple of more traditional tunes of hers that I’ve heard (e.g.,Trailer, Are You Sure), but the more adult comtemporary and kitschy tune aren’t anything I can sink my teeth into, really. I sort of prefer this song to those latter types in that I would enjoy it more if it came on the radio when it was my daughters’ turn in the car. Kind of fun. Decent lyrics.
On a positive personal note, it did remind me of the existence of this 2001 jaunty little roots rock number of the same name by the great Graham Parker:
https://www.youtube.com/watch?v=wbtJer9vEUA
March 23, 2018 @ 8:19 am
I tend to remember that she did a cross roads or something to that effect with Katie Perry when Kacey was a hot upcoming name at the time.
I always wondered about the motivations to that and it seem like there was an attempt to bring Kacey into the mainstream.
This doesn’t surprise me at all.
March 23, 2018 @ 8:20 am
So the Bee Gees were timeless for taking their genre in a different direction but any time a country artist does something different it’s bad
March 23, 2018 @ 8:24 am
But Kacey isn’t taking country in a “different” direction. She’s taking country in a 40-year-old direction and trying to pass it off as innovative.
March 23, 2018 @ 9:32 am
I don’t think ‘trying to pass it off as innovative ‘ is the right take on this , Trigger . I think she had a spark of an idea ( this title and song ) and ran with it creatively. Here’s where it took her . . I don’t think KM is ever trying to ‘ pass it off ‘ when it comes to her approach to creating music . I think she might be the most innovative artist out there in many ways only BECAUSE she’s not chasing or ‘ trying to pass it off ” as anything . She does what she does and , in my mind , knows it strikes a chord honestly through , firstly , lyric …..then superb melodies and , with this track , a fun groove .
March 23, 2018 @ 9:42 am
I don’t think it’s Kacey that thinks she’s being super innovative. I think it’s the media who is the one portraying this as some bold, creative expression. That is why I linked to two of these stories in the review. The problem is that right now there are very few full time journalists who actually cover the country genre and know what country is and is supposed to be at the moment. GQ assigns a reporter to Kacey Musgraves, and they’re just a general cultural reporter. So they’re stupefied at all the talk of why country music should sound different from pop or hip-hop. Many of these reporters are younger, and grew up with the monogenre. It’s all baffling to them why Sam Hunt can’t call himself country to some people.
March 23, 2018 @ 9:34 am
Hail yeah trig!!
March 23, 2018 @ 9:40 am
Regardless of what she has said, I don’t think this sounds like it was inspired by the Bee Gees at all. I think that was a false flag to draw attention from the fact that it sounds like a contemporary pop song from a manufactured artist. I don’t know the name of the song, but I automatically thought of a Selena Gomez song my daughter used to play a few years ago. This song sounds like a mashup of that song and a Taylor Swift song. This is a song generated to capitalize on the success of Disney pop, nothing more.
March 23, 2018 @ 8:48 am
I like a lot of Kacey Musgraves songs. I’m a fan. But there are SO many that are about criticizing other people for being stuck-up, hypocrites, and “phony” that it’s starting to sound as if she’s the judgmental one. Giving the impression she’s bitter, and becoming exactly what she’s railing against.
The lyric in this song that gets to me is “Everyone knows someone who kills the buzz every time they open up their mouth”, because it sounds like something a high school bully would say to a socially awkward classmate who is just trying to fit in.
March 23, 2018 @ 9:04 am
Horrible
March 23, 2018 @ 9:30 am
I still like her and am excited for the album. One song that I don’t “love” will not stop me from supporting one of the few female singer songwriters in the format that actually says something with her material. All of the critics on here dismissing her completely now based on this are exactly part of the audience she doesn’t want to cater her music towards.
March 23, 2018 @ 5:20 pm
Hey, there are two of me.
March 23, 2018 @ 10:04 am
She is out of ideas it seems. She doesn’t have the pipes to run out of ideas. Maybe a couple years fighting for sjw issues on the front lines will get her rejuvenated. You know, college safe spaces and whatnot. Sharpen the toolkit and she will be back in no time.
March 23, 2018 @ 10:06 am
I figured out the inspiration for this song was BEEuble GEEum Pop. Somebody mistook Bee Gee for BG.
March 23, 2018 @ 10:33 am
I’d rather listen to Margo brush her teeth than any of Kasey’s music.
March 23, 2018 @ 10:42 am
ummmMMMmmM???? mind ur own biscuits….z…… u r so dumb like FINE u should APOLOGIZE..,,,,,,.,,,,,,,,,,,,,,,, 4 makin fun of my baby.. FOLLOW YOUR ARROW to the basement.. o wait ur already there hahahshahhashah
March 23, 2018 @ 11:00 am
It is quite an achievement to be awful and boring.
It’s not that it’s disco or the Bee Gees. It’s just boring. I have been saying for years that, though I disliked the recordings made by the Bee Gees, they are great songwriters. Just listening to John Frusciante singing How Deep Is Your Love, you can tell it’s a great song, not just a great disco song. In fact, I think someone could do a great country cover of that song. So, this song is not bad because it’s influenced by the Bee Gees, it is just a bad song. It’s unnecessary too.
For what it is worth, I think a great throwback disco track is I Ain’t Hiding from the Black Crowes Before The Frost…Until The Freeze album. That song is awesome and by that point, the Crowes were heavily veering into country territory both with their sound and with the songs they were recording.
March 23, 2018 @ 11:30 am
More garbage and hype. “Gutsy and innovative” my ass. This song is third-rate Rilo Kiley.
March 23, 2018 @ 11:50 am
She doesn’t have much a a voice and this song isn’t doing her any favors. It’s so generic and the lyrics are juvenile. I never bought into all the hoopla about her. She was mediocre from the beginning.
When will she grow up and stop caring what people think so much about her. I think she has low self-confidence since she keeps releasing songs like this.
Kacey is simply a critic darling that fits their narrative. She’s “progressive” and “innovative”. No she isn’t. I can name plenty of other country stars that have taken far more chances than her lyrically and are actually good.
March 23, 2018 @ 11:51 am
Actually my pet peeve is not the song itself, but the DRIP DRIP DRIP of singles (on many platforms) leading up to the album release. I know it is nothing new and maybe I’m old school, but just release the whole album already. Its like having 5 movie trailers that tell the whole story before the real thing is released, It is not just Kacey but all artists are doing it lately and maybe it is the pletheora of social media platforms telling me that a new single is released (yay!) that is so annoying. Is this the marketing strategy?
I listen to a WHOLE album when in the car, working out, whatever. I don’t just punch in one song.
March 23, 2018 @ 12:00 pm
I agree. There’s too many pre-release singles these days, and it taints the album listening experience. Release on song ahead of the album and have that create the buzz and set the anticipation. Remember the buzz we all used to get when you were ripping open the cellophane on an album or CD, and fighting with that stupid security tape across the top you could never get off right because you wanted to hear it so bad?
March 23, 2018 @ 12:53 pm
yep… the album used to be the main course, now it’s a cold plate of spaghetti and the chef’s wasted all his/her and your time on flashy appetizers that nobody asked for just because they look interesting in Instagram photos.
I don’t hate this song, but it sure doesn’t make me want to throw down money for album.
March 23, 2018 @ 4:29 pm
And you always had the least excitement for the pre release single because by then you had heard it countless times. The music industry has totally lost their way on promoting albums. Maybe they need to just give up.
March 23, 2018 @ 5:24 pm
This is due to lazy journalism, and lazy publicity. Since nobody wants to write reviews or stories anymore, a publicist can dangle a song premier out to an outlet, which is looking for easy content, the band links to it from Facebook, and everyone feels like they’re doing each other a favor. But nobody’s paying attention. There’s a dozen song premiers every day just in country/Americana. Nothing is special. It’s all just a big din of noise.
March 23, 2018 @ 8:15 pm
Yeah, but I feel for the artists that don’t seem to have the resources to put out a whole album, so the single release becomes muddled with EPs. For the regular listener it is confusing. I actually really like what Maggie Rose is putting out lately but the constant stream of singles and EPs (with no full album) has an odd feel to it.
March 23, 2018 @ 12:44 pm
I’ve tried my best to always wait for the album release or leak of any artist to come out to listen to and judge the project as a “whole” but believe me it’s a lot tougher these days when singles come out so far in advance it’s ridiculous. Back in the day a single would come out 4-6 weeks before an album MAYBE. Now it’s anytime. WTF am I supposed to do with one song!!?? Play it over and over like when I had the 45 in 1967….lol
I listen to ALBUMS!! FULL ALBUMS or nothing.
March 23, 2018 @ 1:05 pm
I’m not going to lie, I like it.
March 23, 2018 @ 2:15 pm
Song slaps. All three singles have been winners, and “Space Cowboy” is the best she’s ever been. Love it.
March 23, 2018 @ 3:03 pm
And why are we still talking about Kacey Musgraves? She’s not relevant anymore. Kacey’s short lived career should be a lesson to young artists… you are only new once.
March 23, 2018 @ 3:22 pm
I have to disagree Jessie . If you aren’t chasing trends you will always be relevant .
March 23, 2018 @ 3:34 pm
That’s not true at all. Do you thinks SCM fan’s beloved Sturgill, Isbell, or Stspelton are chasing trends… no they’re not. Yet, they’re still relevant.
March 23, 2018 @ 8:09 pm
I think we just said exactly the same thing jesse .
me -” If you aren’t chasing trends you will always be relevant .”
you- ” Do you thinks SCM fan’s beloved Sturgill, Isbell, or Stspelton are chasing trends… no they’re not. Yet, they’re still relevant.”
March 23, 2018 @ 9:16 pm
You got me Albert! I do think Kacey is chasing trends more than the others. She’s not that far off from Miranda. Even if she hasn’t released a single yet, she’s trying to get radio play, she has to. Sending out the songs but not as singles is the label’s way of trying to push her hip and cutting edge or something. I think she’s pretty milk toast and there’s not really any place for her if she fails at radio, which she already has. It’s really just a matter of time. Then she’ll try her hand at Americana but those sales will be small.
March 23, 2018 @ 3:35 pm
Not a fan of this one! We know she can do way better
https://www.youtube.com/watch?v=zIkFzXgL7HA
https://www.youtube.com/watch?v=vkmNMLLGOBE
March 25, 2018 @ 11:11 am
https://m.youtube.com/watch?v=03JeFX_4PI4
https://m.youtube.com/watch?v=VofYQCosgLI
https://m.youtube.com/#/playlist?list=PLNPt-gXXUdGgCk5ROShjCnb3r9VGBoVqK
Her three independent releases.
March 23, 2018 @ 3:40 pm
The pushback to “High Horse” is people feeling like we’re being Taylor Swift’ed yet again. There’s resentment. These girls coming up who’ve found a shortcut to the top of the Pop charts through the Country. Maren Morris and Bebe Rexha being the worst offenders. Treating our genre like a detour rather than a destination. And in Maren’s case, daring to be annoyed about having to take a longer path to success and airing those feelings to the press.
There’s another cautionary tale that these ladies should take note of. That last Shania Twain album. Another woman who came, saw, conquered and moved on only to have her career stall at the end of it all. Suddenly she needed a soft place to fall and figured she could return to Country, a genre known for allowing their women artists to age with grace and dignity. And what did she find? Some doors that once closed aren’t so easy to re-open.
March 23, 2018 @ 8:11 pm
Shania who ???
March 23, 2018 @ 10:16 pm
She stalled because she got divorced from the genius.
No Mutt = No Shania
Proven fact.
March 24, 2018 @ 8:57 pm
Gross.
March 23, 2018 @ 4:02 pm
Stick to biscuits, Kacey.
She is a one trick pony. Always
March 23, 2018 @ 4:03 pm
Always has been.
March 24, 2018 @ 8:59 pm
Chauvinist.
March 25, 2018 @ 4:08 am
She sang a song, “Biscuits” which I greatly enjoy. That is why I made the joke.
So try again.
And I expect an apology for your slander.
March 25, 2018 @ 6:26 am
I’m sorry that your “joke” was chauvinistic.
March 29, 2018 @ 4:31 pm
The joke was in, no way, chauvinistic to anyone with a sense of humor or basic understanding of her music.
But play the sexism card. It is all you have.
March 23, 2018 @ 8:27 pm
This young lady is NOT trend-chasing whatsoever . She does her own original country-influenced thing and winds up as an opening act for some HUGE names in the biz. ( Katy Perry , George Strait , Harry Styles and others ) I’m not saying that justifies anyone in terms of talent . I’m saying that she’s doing music HER way …not chasing the hip-hop urban schtick every other entertainer seems desperate to do ….She’s ignored by mainstream radio but gets the BEST gigs in the business . . Know who else did that ? Chris Stapleton . Its just of late that radio seems to be apologetically playing him CAUSE PEOPLE LOVE HIM and they can ignore that no longer .
Sure …there’s a lot of true artists out there that radio ignores and who SHOULD be more acknowledged. Not gonna happen if you don’t play the trend game OR force radio’s hand as Stapleton has done . Well Kacey is doing it her way and she’s successful . Many of us feel she’s deserving of her hard-earned success ….success that has come without radio . She’s found a fan base on her own without being FORCED upon us ( Big Little Town , Swift , LB , Alldone , Hunt , Urban and countless others ) She’s more country in sound and spirit than almost EVERY chart act right now . She’s more original than the aforementioned all put together BECAUSE she isn’t chasing trends or cow- towing to radio formats and flavour -of-the -week charts and reviewers. If all of those pseudo-country acts aren’t a little bit jealous of that , the should be !
March 24, 2018 @ 4:19 am
Not Country, and the lyrics are a waste of time.
But what stands out to me most about this, is how her voice lacks the power to keep up with the driving, funky track. She’s too weak a vocalist to even be attempting a song like this.
March 24, 2018 @ 8:32 am
”….is how her voice lacks the power to keep up with the driving, funky track. She’s too weak a vocalist to even be attempting a song like this.”
and you aren’t wrong either KH0C. In my opinion there’s a charm about the almost innocent and non-malicious manner she delivers the ‘message’ in the lyric . for me , that makes up for the lack of ‘donna summers’ in her vocal style . the track seems aware of this in that it respectfully supports her style rather than overwhelm it by competing . the melody isn’t screaming to be blues-ed up or vamped on . it is an integral component of why the tune works and CANNOT be compromised . again , kacey’s vocal is totally sympathetic to that aspect of the song , as it always is , and dutifully delivers the RIGHT melody…..not HER interpretation as some might .
imo this is why ashley monroe’s stuff doesn’t work for her . NOT because she couldn’t carry a melody adequately enough but because she hasn’t found material that HAS strong melody .a listener will hum or whistle a melody before he/she will remember or even care about a lyric.
March 24, 2018 @ 9:42 am
Trigger,
How could I have worded my reply to Albert in a way that you won’t delete?
How could I have stated what I did, with acceptable words?
March 24, 2018 @ 10:19 am
I didn’t delete any reply of yours to Albert. Not seeing it in the trash or spam folder either. Last time I deleted one of your comments is when you used the C-word responding to Chris King.
March 24, 2018 @ 10:48 am
Yeah I can’t believe you deleted that one. He was sure acting like one. I figured you’d appreciate me having your back.
March 24, 2018 @ 9:02 pm
Your Ashley Monroe comparison makes your entire argument null and void. Have you actually listened to “The Blade”?
March 27, 2018 @ 7:53 am
yes…..I have the AM album , Hayley . It did little for me melodically , musically or vocally. The material was simply NOT commercially strong and AM’s voice could do nothing to save it . Perhaps AM should consider co-writing with Kacey and Co. …It worked for Miranda ( Mama’s Broken Heart )
Fact is , ANYTHING ….good , bad or mediocre ….will grow on a listener given the chance . That is , if you play a record or a song quite a few times, the familiarity will become more apparen and you will warm to it to an extent . This is why radio stuff becomes popular …Its forced upon us non-stop . Ashely M’s music does not have STRONG commercial appeal or a GREAT voice to carry it . She’s choosing the wrong material for her vocal characteristics . She isn’t making up for her lack of strong vocal gifts with strong , melodically infectious material .
March 24, 2018 @ 7:47 am
The whole “urban cowboy revival” thing that’s been going on in Houston has me surprised that there hasn’t been more disco country stuff going on.
March 24, 2018 @ 8:50 am
Tell me more about this revival. I’m unaware of it.
March 24, 2018 @ 8:39 am
Ah, lots of hate here. I think Kacey stating that disco in country music maybe isn’t new overall in the genre, but for her it is definitely something new and fresh in her music. I like all three songs from her new album so far. If she rehashed the same thing with the same old school traditional feel, it would get boring. However, I like how she’s infused her material with some other elements. I’m sure other songs on the album will have her “traditional” country sound, but what’s wrong with changing it up? Keep doing what you’re doing Kacey!
March 24, 2018 @ 12:51 pm
Disappointing. I liked her sound and her silly but clever lyrics. Loved all her prior albums including the Christmas one at that time of year. I don’t enjoy anything about this song. Lyrics and sound bring nothing of what makes her an enjoyable and unique artist in the first place. Did I say disappointing yet?
March 24, 2018 @ 4:32 pm
shes trying to see if she can go pop while still making bland country, effectively pleasing no one. even in a techno song she says horrible lyrics like ‘horsies, john wayne, cowboys’
March 24, 2018 @ 8:35 pm
I’m not crazy about “Space Cowboy”, felt a bit forced/contrived, but from a writing perspective, “Butterflies” makes me happy. Great melody and word play. And even though “High Horse” isn’t country, I’m totally digging it. It feels honest to where Kacey has been going, she obviously has a taste for other genres, and I’m not offended by it at all. It seems like a natural progression. I don’t feel like she’s trying to be someone she’s not, not gonna throw her under the bus for writing what she likes.
March 25, 2018 @ 9:53 am
Well, I adore Kacey and I love disco, so I was willing to give this a shot, but it’s really disappointing. I did actually think it was a Taylor Swift song at first and not in the good “Better Man” sort of way. It’s not even catchy like “Shake it Off.” It doesn’t even sound like Kacey. I wish she’d just stick to being herself because thats working. This, not so much>
March 26, 2018 @ 12:41 pm
Kylie doesn’t care about genres, she did the same as “Dancing” a long time ago with “Please Stay”. She knows pop is versatile so all music genres. She knows “Dancing” is not country and she will not interfere with the country charts, she knows she will always be a pop and house queen.
That being said “High Horse” is boring. But the other new singles of Kacey are doing pretty well on Spotify. And I really liked “Butterflies” which is not country either, it’s more pop than anything.
March 26, 2018 @ 11:58 pm
Ps, the fact that I’ve continually told Alexa to play “Butterflies” is a good a pretty good freaking sign that the rest of the album will be ????. There’s a reason Kacey has continually given a ???????? to country radio, and as a songwriter, I’m HERE. FOR. IT.
March 27, 2018 @ 6:59 am
I don’t like this song but it sounds to me like its aimed at Miranda. Sounds like Kacey never got over being conned out of giving Miranda Mama’s Broken Heart while she was dating and living with Miranda’s brother. Miranda plays that song every night and credits the other songwriter but never Kacey. Clearly there is bad blood. So, that layer is interesting to me because I do feel like Mama’s Broken Heart might have been Kacey’s breakout song if she had recorded it herself and there is a story there that’s intriguing. Other than some of the lyrics this song is a zero to me. I agree with the person above who said that like her nemesis Miranda she is chasing trends to an embarrassing level.
March 27, 2018 @ 7:53 am
Listening to the full album on NPR now. There’s some good shit on here but Jenny Lewis did this whole acid-pop country thing a few years ago. The album was called “Acid Tongue” and it’s much, much better. The songwriting is brilliant whereas Kacey’s is sorta boneheaded. The banjos feel forced on “Golden Hour.” But overall it’s better than what pop-country and Americana are offering right now and way fucking better than all of the so-called male “outlaws” who are either image-based clowns or boring as fuck and mediocre like Jason Isbell.
March 27, 2018 @ 8:22 am
Thanks Travis …..listening also . Don’t know the Jenny Lewis thing but this is terrific top to bottom .
Interesting how Stapleton , Miranda ( TWOTW ) Sturgil ,Kacey , Cortney Marie Andrews and so many others have just said ” to hell with what radio wants ” and in following their respective muses have connected with their own artistry and creativity . These folks knew they’d be suffocated in a commercial kid-oriented environment . And again , they have found significant followings on their own terms .
Music wins
March 27, 2018 @ 9:29 am
Yeah, this isn’t a good song.
Incidentally, if I’m in the mood for disco I’ll stick with Donna Summer or CHIC 90% of the time. I think the Bee Gees are pretty bland.
March 27, 2018 @ 7:25 pm
Just listened to Golden Hour. I think it’s a win overall.
March 28, 2018 @ 3:03 pm
Hey man them aint high heel sneakers…
March 29, 2018 @ 9:10 am
I’m giving the album a listen as I write this. This sounds like Colbie Caillat – ie: soft adult pop
This is Pop drivel and not even close to Country. I would never pay for this and I didn’t.
March 31, 2018 @ 7:53 am
I read the review, then listened to part of the song. Much worse than I expected.
June 6, 2018 @ 11:38 am
I like this song because it describes my ex husband so perfectly. I don’t know of any artist that pleases all of their fans all of the time.