Song Review – Ronnie Dunn’s “Ain’t No Trucks in Texas”
Trying to get a handle on Ronnie Dunn over the last few years has been like trying to catch a greased piglet. His rhetoric has been nothing short of revolutionary, but his artistic output has been a mixed bag at best. The former Brooks & Dunn member became disenfranchised by the Nashville system after his first solo release in 2011, and so he started a public relations crusade through his Facebook page, preaching about how unfair it is that aging artists get shuffled so unceremoniously to the side in the mainstream, and how country radio these days is replete with industry politics.
All of this resonated deeply with the aging country music fans who grew up on Brooks & Dunn and other country acts that over time have revealed themselves as much more country than critics believed in their era, especially compared to how off the page country has gone today. But when Dunn released his 2014 record Peace, Love, and Country Music independently, songs like “Kiss You There” and “Country This” seemed as pandering as anything from the new crop of artists. After Saving Country Music pointed out these inconsistencies, Ronnie Dunn himself addressed the concern:
SAVING COUNTRY”¦.One of my all time FAVORITE articles !!!
I agree with him about the contradiction grinding endlessly within ME and the MUSIC that I seek, so desperately to be a part of. This stuff is about more than just music.
I am beginning to believe that there may be no balance between mass accepted, mainstream music and sincere, heartfelt stuff with essence”¦ but again, I’m conflicted because songs like Believe, Red Dirt Road, Brand New Man, Neon Moon, She’s Not The Cheatin’ Kind and My Maria, just to name a few, seemed to do it on a mainstream level…
In the end I don’t have anything left to prove, I just like doing this.
I’m determined as ever to get this chapter right.
“This chapter” refers to the fact that Ronnie Dunn recently signed with NASH Icon—the joint venture between Big Machine Records and Cumulus Media—which charges itself with giving new life to country stars like Ronnie Dunn that still have a tremendous following and commercial appeal, but are being left behind by mainstream radio obsessed with youth. It’s a second chance, a second life in the mainstream. A lot of the concerns Ronnie Dunn has shared in his many Facebook missives will potentially be addressed by the emergence of NASH Icon and the possible split of the country radio format, so he makes a good candidate for the new venture.
But the music is what this always boils down to, and the question about Ronnie’s upcoming and so far unnamed NASH Icon release was if the songs would be any good? Would we get Ronnie Dun circa 1992, circa 2014, or something else entirely?
“Ain’t No Trucks in Texas” is our first taste of NASH Icon-era Ronnie Dunn, and it’s not that all unsavory. “Ain’t No Trucks” isn’t really a country song. Its blazing guitars and a subtle electronic beat right after the intro give it a new school flavor. It’s also hard to look at any song that has “trucks” in its title these days and not surmise it’s trying to get the attention of shallow mainstream listeners.
But “Ain’t No Trucks in Texas” is a breakup song at its heart, and one that’s hard to not feel the sway of, especially with the smart chord selection and the way the lyrics impact the listener, regardless of their list-like approach. This song is pragmatic. It utilizes some of the modes that speak to today’s country listener, but is nowhere close to a party song. And what’s for sure is Ronnie Dunn has always possessed one of the most powerful voices in mainstream country over the last 25 years, even though that was sometimes overshadowed by his duo member status.
There are certainly some things to take issue with in the production of “Ain’t No Trucks in Texas.” But you can’t discount the message and feel. And as long as these things are effective, it gives any song, regardless of the style, a fighting chance.
Not bad.
1 1/2 of 2 Guns Up.
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Sorry, no universally-accessible streaming player for this song is available at the moment, but if you do the Spotify thing, you can listen below.
July 20, 2015 @ 5:57 pm
I really liked a few off his last album – Cadillac Bound and Grown Damn Man much more than this. They sounded much more country to me. But I get what you are saying and I agree. Don’t hate it. But won’t be downloading it either.
July 20, 2015 @ 6:21 pm
I can dig it.
July 20, 2015 @ 6:30 pm
So I was reading this article and watching “Zombie Shark” when who’s voice pops out of my tv during a subaru commercial but Willie Nelson… guess even zombies, sharks, zombies that are also sharks and subaru owners know quality music…
July 20, 2015 @ 6:43 pm
I’ll bite … What’s a Zombie shark?
July 20, 2015 @ 7:24 pm
…it’s a shark that becomes undead…
July 21, 2015 @ 5:58 pm
Damn, now I need “Whalewolf vs Zombie Shark” to happen.
July 20, 2015 @ 6:42 pm
I was staying clear of this song cause Ronnie was teasing it all week on FB with pictures corresponding with one liners from the song. Seemed all too cute for me, but the song works. I’m looking forward to the album.
July 20, 2015 @ 6:44 pm
I like it, its slightly forgettable as the lyrics and content have been done a million times. Honestly, for me it feels like a solid album cut. Sadly with the state of mainstream Country music, a solid album cut is a great radio single in 2015.
July 20, 2015 @ 8:25 pm
I’m not usually one of these grammar police but you’ve had two articles in the last bit where you used “disenfranchised” when I think you mean “disenchanted” in the featured paragraph. If you mean they were metaphorically disenfranchised (since they didn’t lose the right to vote) I think it would be “by” and not “with” the mainstream music business.
Don’t mean to be a dick though, thanks for introducing me to so much fantastic music!
July 20, 2015 @ 8:31 pm
I mean “disenfranchised,” though I agree about the agreement of “by” and “with.” I am using “disenfranchised” to mean to be robbed of something.
July 20, 2015 @ 9:25 pm
I personally think RD is one of the greatest country vocalists of all time . That’s COUNTRY vocalists …not this radio stuff we’re getting now . His tune on the Louvin’s tribute record a few years back ( with Rebecca Lynn Howard ….another KILLER vocalist who never got her due ) totally sealed the deal for me . And I think MOST songs on his solo recordings have been heads hands and feet above anything I’ve heard on country radio in 10 years BECAUSE that incredible voice ( which could read a soup tin label and bring tears to my eyes ) DOESN’T read soup tin labels but finds/writes material that showcases that voice superbly . I can barely get through ” The Cost Of Living ” at the best of times .
I’m guessing Ronnie Dunn has made enough money and won enough hardware to last several lifetimes . I would hope he doesn’t feel he needs to chase this trendy radio drivel anymore than AJ feels that need at this point . I would hope Ronnie Dunn is letting his heart tell him what to sing , not his bank account or ego .
Did I mention I think he’s absolute top of the heap when it comes to delivering emotion in a song …with subtly OR with all the power that song might need ?
Unfortunately the song posted ” is not available in my area ” which , of course is on Jupiter’s largest moon ….or so the video Gods seem to think . Shit !
July 20, 2015 @ 10:23 pm
As I mentioned in another comment, this sounds like really, really good RD. It’s a double bonus to have Dunn & AJ come strong in the same week. Trigger, do you know who produced? Tony Brown or Mark Wright? Or did they bring in a new gun? Hell, it’s great to have him back, knowing he’ll at least get some Cumulus love. Even when he let Clear Channel a+r his last album (or at least those 2 unfortunate songs), hearing him sing ‘Wish I Still Smoked’ gave me faith for his future. Now, get outta Vegas and come see the rest of us…..SOLO!!
July 20, 2015 @ 10:29 pm
Wasn’t seeing much information on this song when I was writing the review, but I’m seeing now it was produced by Rascal Flatt’s Jay DeMarcus, which seems like a weird curve ball, and was written by Wendell Mobley, Tony Martin and Neil Thrasher.
July 21, 2015 @ 5:16 am
The irony of NASH Icon regarding the genre split at radio is that the two artists on the label aren’t doing anything to differentiate the split other than to say “We’re old.”
If the issue is the sound of country music changing, and the ICON stations are playing music from the 80s and 90s, then shouldn’t Reba and Ronnie want to double down on that (now) classic sound?
I like Reba’s new album, I’ll admit, but how is it any different from All the Women I Am? I’d like it a lot more if it sounded like Have I Got A Deal For You. She said they weren’t playing her on radio so she gave us more music they won’t play.
At this point in Dolly’s career, hadn’t she already moved on to bluegrass, embraced her icon status (ha!), and remained a superstar?
July 21, 2015 @ 5:30 am
“Brooks & Dunn and other country acts that over time have revealed themselves as much more country than critics believed in their era, especially compared to how off the page country has gone today.”
This is the problem. I never regarded Brooks & Dunn, Garth Brooks, Alan Jackson, etc. as good country music. While they were turning out their line dancing bullshit, or overwrought fake-heartfelt-sincere crap in the 90’s, there were people still making good country music. Now, because radio country has become an unspeakable train wreck, are we supposed to look back fondly on that shit? I say no. I guarantee that ten years from now, there will be people hearkening back to that golden era of country music when Florida Georgia Line, Sam Aldean, and Luke Paisley were turning out real country music…
July 21, 2015 @ 7:03 am
Forgive me for not understanding this sentiment, I am only in my 20s. But, how could you consider Alan Jackson not country? While I contend that most of Garth and B&D were also country, they did deviate some in their sound. But how is Alan Jackson of all people not country?
July 21, 2015 @ 7:28 am
I would agree with you on Brooks/Dunn, Tracy Byrd, Billy Dean, Billy Gilman, Reba and all them as not being so great… but Alan has released some great material. If we’re going to disregard artists who gave us stupid songs, we better throw out Jamey Johnson, George Jones, Elvis, and Buck Owens. Alan has not only grown up since his little bitty days but he’s released some great material, and he deserves more respect than his 90’s peers, about most of whom you’re right.
July 21, 2015 @ 7:33 am
That’s a fair point RD. Though I don’t 100% agree with it, I totally understand that mindset, and I think it is a very important point to make. We may have been a little too harsh on that 90’s stuff, and now we may be a little too kind to it because of where country has gone.
July 21, 2015 @ 10:53 am
I’m not a huge B&D fan but they do deserve some credit. Songs like “Neon Moon,” “She’s Not The Cheatin’ Kind,” “Believe” and “It’s Getting Better All The Time” were all great. Tracy Byrd and Garth both had some great singles as well. I agree that we are sometimes over-fantasizing about the ’90s but even the weaker stars of that era recorded great material.
July 21, 2015 @ 8:07 am
Wow could not disagree more about the slamming of all those 90’s country artists. Not only were they all country, they actually(for the most part) put out sincere songs that covered a lot of important issues and usually told a good story. You can say they ”evolved” from the country you liked, but it was still country music. One million times better than the stuff today. I am not ashamed to say that a large portion of my personal favorites in country music come from the 90’s. Granted, I wasn’t around for anything from the 60’s or 70’s and was young in the 80’s. Calling their music fake heartfelt sincere crap is laughable. Posts like that do nothing positive for this community and only divide people who really care about the music.
July 21, 2015 @ 8:33 am
Twenty years later, it is now difficult to recall, and in light of the severe decline of the past ten years, those artists now seem good. But, at the time, they were regarded as pop country, and though wildly popular, I never viewed them as good country music. In the 1990’s, you still had Waylon, George, Willie, Merle, Travis Tritt, Hank Jr., Coe, Robert Earl Keen, Bob Childers, Marty Stuart, Johnny Cash, Jerry Reed, John Anderson, Guy Clark, Jerry Jeff Walker, Dwight Yoakam, and many more that I can’t now recall, releasing music that I regarded as good, traditional country music.
As far as Alan Jackson, perhaps I am too harsh on him, but, with the exception of a few songs, I just never liked his music, and I viewed him as pop country.
July 21, 2015 @ 4:46 pm
I’m only 23, so I grew up listening to B & D, Alan Jackson, Garth Brooks, etc., so I have fond memories of a lot of the music they put out in the mid 90’s, but if I hadn’t grown up listening to that stuff, I’d probably have the exact same opinion as you. Hell, in some cases I know the music is shit, (Garth Brooks) but I still enjoy listening to it from time to time, if only for nostalgia’s sake.
July 21, 2015 @ 8:19 pm
Yes, just as David Allan Coe and Waylon Jennings were regarded as pop when they first appeared, among others. Time is the judge of art, as they say, hence why there are such reappraisals in the first place. I believe “good” and “bad” are completely subjective terms in regards to art. What it is and isn’t is a different story. Call me crazy, but when I hear banjo, fiddles and steel in a song, much less all in the SAME SONG, that’s country to me. But what the hell do I know? That’s not to say some of these guys never put out any duds or pop songs, but let’s drop the crap and quit pretending that the greats never put out duds just because they’re legends. It’s the same effect happening to these ’90s artists, you’re just seeing it unfold in front of your eyes instead of coming into it ignorant. The legends haven’t always been legends, you know, and not one of them had a spotless critical/fan repute for the entirety of their careers.
By the way Ronnie, why would you bash your own music? 😛
July 21, 2015 @ 8:23 pm
Could have a fun topic with worst single by the great artists of country music.
I’ve mentioned before that ‘To All The Girls I’ve Loved Before’ is in my opinion Willie Nelson’s worst and the point where his dueting went one step too far. Hate that song.
July 21, 2015 @ 8:29 pm
I know there’s not a lot of love lost between some country listeners and certain Conway Twitty songs like “Tight-Fittin’ Jeans” and “The Clown.” That dude could be a little creepy at times, such is why Trigger refers to him as the Sexual Miscreant of Country Music.
Hank Jr. has a whole closet full of duds from his later career. I particularly loathe a song of his called “Fat Friends,” which bashes all the women that he claims to hit on him but that he considers unattractive. It sounds like a joke, but I’m not too sure Junior intended it that way. Hard to tell, since he doesn’t seem to be in on his own joke half the time in regards to certain career choices and his ego.
July 21, 2015 @ 8:46 pm
‘Tight Fittin’ Jeans’ is a good one and that clip of Conway singing in the short shorts Richard Simmons style (can’t remember what song he was singing) is cringe worthy.
‘The Matador’ would be my pick for Cash because it’s such a pure ripoff of ‘Ring Of FIre.’
‘Her Name is’ by George Jones for the bizarre electronic keyboards is pretty bad too.
July 22, 2015 @ 3:34 am
I recall seeing a video of Waylon saying that Wurlitzer Prize was the worst song he ever recorded and he regretted recording it…
July 22, 2015 @ 8:51 am
I love “Her Name Is”!!!
July 22, 2015 @ 3:40 am
Waylon was regarded as rock very early in his career because he WAS performing rock music at that time. It wasn’t supposed to be country. Coe has been all over the map. Starting with blues, then going to spoken word, rock, bluegrass, country…. He is one of the most talented country artists and songwriters of all time.
July 22, 2015 @ 6:29 am
I didn’t say a single thing about rock. I’m fully aware that Waylon played for Buddy Holly, and the accusation that he would be rock instead of country is completely understandable. However, what I said is that he was considered POP at the time, just like you call Alan Jackson and the other early ’90s performers.
Here’s an article from Trigger on the subject, concerning another article written at the time: https://savingcountrymusic.com/they-said-waylon-jennings-wasnt-country-too-outlaw-history
Want to know the difference between Alan and Waylon? Alan employs traditional country instruments like banjos and fiddles in 95% of his music. Oh, but HE’S the “pop” artist. Coe was also called pop, hence why he cut “If That Ain’t Country.” I wasn’t saying anything about his quality or lack thereof, simply how his music was perceived at the time. It’s a great allegory for how you say you felt about ’90s country, dare I say the exact same phenomenon.
July 22, 2015 @ 9:23 am
I can definitely see how traditionalists regarded Waylon’s music as a deviation from what was country at the time, but I fail to see how they regarded him as “pop” after he transitioned away from rock n roll and into what was regarded as his signature sound. As far as Coe, he has written and covered so many songs from so many different genres, but I have never heard anyone call his music “pop music.” Coe playing pop, rock or even rap songs live isn’t the same as being a pop artist. Borrowing a line from the commenter Tim in the article you linked: “I think you know classic when you hear it and pop-country when you hear it.” I think that Jackson, Garth, B&D were rightly regarded as pop country in their heyday. I certainly viewed it as pop country, and I haven’t changed my opinion. Apart from that, I am not one to regard Waylon, Coe, etc. as the be-all-and-end-all of country music. I like a ton of artists that came before them, and some that came after them
July 28, 2015 @ 7:26 am
(Sorry, just now noticed that you responded to my last comment upon returning to this article).
The reason, I’m fairly certain, that Waylon had to battle accusations of being “pop” back in the day is because his music was stripped down compared to your average Nashville artist. Often his sound seemed to consist of his voice, his guitar, perhaps some steel and drums. Fiddles and banjos are somewhat rare in his recordings. I can totally understand why they considered him pop. I was just listening to Honky Tonk Heroes the other night and thought to myself that half the songs could pass for soft rock. That’s why it baffles me that you consider Alan Jackson, once again an artist that uses ALL of these instruments in 99% of his recordings, as “pop” but Waylon is true blue country. This isn’t an issue of perspective, it’s simply the eyeball (or in this case, ear) test. I think perhaps some of the early ’90s performers were a little too polished for your tastes and that’s why they struck you as pop, not because their music necessarily is. Of course, it could also be that you simply didn’t like it. I’m not one to normally try and cut someone’s opinion off at the knees, but I honestly just don’t get it in the grand scheme of things, particularly regarding what pop sounded like at the time.
As for Coe, I wasn’t speaking of his concerts. I’ve read several articles that commented on his battle against the perception that his music was pop or inauthentic back in his heyday. I’m not saying that you regard him or Waylon as the end-all be-all, it’s just me pointing out the fallacy in the “this has all the hallmarks of country music but it’s still pop” point of view that folks have about some performers. This is why I’m frequently dismissive of pure traditionalism; at its best, it’s a cause for maintaining the roots and integrity of the country music genre. At its worst, it’s blatantly and unapologetically hypocritical, two-faced, inconsistent and ripe for self-parody. You may or may not be a traditionalist, RD, but you strike me as one based on your comments. Everyone is different, but if CLINT of all people likes Alan Jackson and early Garth/B&D, I’d call that country music. He’s a hard man to please.
(Side note, but going hand-in-hand with the above comment is the very important designation of “early” eras. Alan Jackson has mostly been consistent for his 25+ years in the business, but Garth and Brooks & Dunn started out much more traditionally than they ended up a few albums later. Them I consider up for debate as “pop country,” whereas Alan I do not simply because of his aesthetic.)
July 21, 2015 @ 9:03 am
‘ You can say they ”evolved” from the country you liked, but it was still country music. One million times better than the stuff today.’
Yup …this sums up what real country fans feel . You CAN ‘ evolve’ and still stay true to country’s earmark’s theme-wise , instrumentally and in the craft and vocal performances . Nearly ALL of those earmark’s were respected in the 90’s and are MIA today .
July 21, 2015 @ 8:46 am
With the BIG sound and the laundry list lyrics, I don’t think this is much different than what gets slammed around here. I’ll never understand you guys.
July 21, 2015 @ 10:02 am
“There are certainly some things to take issue with in the production of “Ain”™t No Trucks in Texas.” But you can”™t discount the message and feel. And as long as these things are effective, it gives any song, regardless of the style, a fighting chance.”
July 21, 2015 @ 3:08 pm
meaning if it ‘feels’ like crap, it still gets a positive review.
this song ain’t saving country music from anything.
and it’s just another sign of how you rarely know what you’re talking about, no matter how you defend yourself.
keep posting those police reports though. that’s about as country as it gets!
July 21, 2015 @ 3:37 pm
Um, I don’t think that’s what I said. I think I said that I recognize the issues in the production, but overall I liked the feel of it. This is a review, and an opinion, and by definition there is no right or wrong. If you disagree with me, I respect that, because that’s your opinion, and even more so, I understand the concerns some could have with this song. But that this somehow proves that I’m an idiot because I think this song is decent and you don’t completely misses the spirit of what Saving Country Music is all about. I also find it interesting that you criticize me for posting about police reports instead of music . . . on a music article. I had no idea the Stoney LaRue stuff was going to come up today. It wasn’t on the agenda.
I didn’t nominate this for Song of the Year. I said it was decent. And I stand behind that. You can’t argue opinion, you can only share yours.
July 21, 2015 @ 8:52 am
I wish Brooks & Dunn would be as one again. They were the sh..t
July 23, 2015 @ 9:14 am
I hate B&D, always have, always will. They’ve always seemed like the archetypal 1990s’ city-boy country band to me (Cue the “Ropin’ the Wind” shirts, cheap cowboy hats, and ironic Country Line Dance halls of Boston…)
… And apparently they haven’t gotten any better. Alright, yeah, this may be better than what Sam Hunt, Little Big Town or Bro-country is serving up right now both instrumentally and lyric-wise, but I still don’t like it. Even Ronnie admits a lot of their stuff wasn’t really country! My Maria may have had nice lyrics, but there wasn’t anything even remotely country about that song… And Boot-Scoot boogie’s lyrics were CRAP, even if it gave off a country vibe!
This is why I turned the Mainstream Country radio off in like 1998… I was getting fed up with B&D, Shania, etc…
July 24, 2015 @ 2:44 am
I was not a fan of Brooks & Dunn when they came out… tho’, later on I liked a few songs… but I’m amazed at how much more country they sound now than what is on the radio. *mind blown*
-W