“Country has become a bigger umbrella. It’s good and bad. Country has become too homogenized and too commercial. It has lost what makes it special. It’s great that it’s popular, but then it starts to become watered down.”
Are you waiting for your favorite music artists signed to MCA Nashville to release an album after a prolonged hiatus? Perhaps you heard the first single months or sometimes years ago, but still no record? Well you’re not alone. It looks like the unenviable position of being the most notorious label on Music Row is no longer a slam dunk for Curb Records.
Ladies and gentlemen, we now live in a world where not even King George remains relevant on country radio. Isn’t that the sad, ever present revelation of the living—that time marches on, and no matter how important something was in the past, the present moves forward, callously at times, and the greatest of efforts are relegated to moments of fond reminiscing.
So what’s to learn from hitching a ride in Marty McFly’s time machine and traveling back to 1985? That the problems country music is facing today are virtually the same ones that were being faced 30 years ago. It’s all cyclical, as canonized in the old Gospel tune enshrined in the architecture of the Country Music Hall of Fame asking the question, “Will The Circle Be Unbroken?”
Like so many of these contestants, not much has come of Jake Worthington in regards to industry success after his finale appearance in May of 2014, but he has just released a new EP. Settling somewhere between John Anderson and George Strait, this five-song offering is a straight-laced true country testament from start to finish that leaves little to no doubt where the heart of the young Jake Worthington lies.
There was another big battle at the top of the country albums charts last week, and once again the good guys won. Despite the perception by so many in the mainstream country business that radio play and youth is the key to success, two guys in their 60’s with no mainstream radio love topped the charts, and not just from statistical anomalies based on weak numbers, or on an off week for releases.
We knew George Strait couldn’t keep from stirring for too long. Though he played his final shows as a touring artist in 2014 on his way to racking up astronomical numbers for his farewell junket and finding himself being named Entertainer of the Year by both the CMA and ACM Awards for the effort, you had to know he wouldn’t sit tight for good.
Garth Brooks has been told to hold it just one cotton pickin’ minute when it comes to releasing a new version of his signature super hit “Friends in Low Places.” First announced Thursday, September 3rd, the re-recording to mark the 25th Anniversary of the song includes contributions from Florida Georgia Line, Jason Aldean, Keith Urban, and George Strait.
Super secret sources are telling Billboard that Garth Brooks will be issuing an updated version of his 1990 mega hit “Friends in Low Places” to mark the song’s 25th Anniversary, and he will be enlisting a number of high-profile low friends to help him with the new rendition. Included on the new track are reportedly George Strait (yep), Keith Urban (err), Jason Aldean (nope), and Florida Georgia Line (puke).
“. . . we play all of our own instruments, we write the best songs that we can, and we put harmony on the songs, we have a real band,” Zac Brown said in response to Luke Bryan’s “That’s My Kind of Night” not two years ago. And now the exact criticisms he leveled at Luke Bryan could be leveled at him. But they won’t be.
Dear Luke Bryan, Thanks for taking the time to read my letter, if in fact you do so. I can only imagine the time constraints a man of your success has, and you’ve already been taking of your time over the last few days to help clear up a mess that I guess I had some part in creating.
It isn’t often that a musician achieves an illustrious 15-year career that includes five number one hits, Grammy Award nominations, feature film contributions, producer credits and the respect of his peers before he ever releases his first solo album. But Chris Stapleton isn’t your average musician. The near-universal critical acclaim that has been heaped upon his debut album “Traveller” has been nothing short of amazing.
Words were failing me in my efforts to articulate in any sort of composed and accurate manner what type of depravity country music is currently ailing from, and just what angst I feel about the current state of affairs in the genre. The 50th Annual ACM Awards left me despondent, reeling, and listless from the lack of hope for the future of the country format. And then I saw a picture of Sam Hunt’s hair.
The Louisiana Hayride is on its way back, and in a big way. Arguably the 2nd most influential music program in country music history, only rivaled in stature by The Grand Ole Opry, it’s been an effort that has lasted over 20 years and seen a major renovation of the radio program’s original home of The Municipal Auditorium in Shreveport that has put organizers on the brink of bringing the show back.
Beneath the surface of Australian country, traditional artists still fight for attention and find it amidst both Australian and international listeners. Roo Arcus is one of those traditional country artists, and one who can quiet American naysayers arguing an Australian can’t birth authentic country songs, and not just from the songs that his life has inspired, but the country lifestyle Roo Arcus leads.
Even though Taylor Swift has 86’d country and said she wants nothing to do with the awards specifically, the ACM’s have minted a special 50th Anniversary “Milestone Award” crafted by noted jewelry designer David Yurman to be handed out to Swift and a few select others. The Milestone Award trophy is made up of more than 1,010 grams of sterling silver, with the top edged with 4.16 carats of black diamonds.
“My name is Aaron Watson. I’m not played on country radio. And I have the #1 record in country music this week. I do exist.” This was Aaron Watson’s reaction to the comments of Sony Records Nashville CEO Gary Overton, who said earlier this week, “If you’re not on country radio, you don’t exist.” But overall the Texas country star took a much more humble, appreciative, and inclusive tone.
Musician, songwriter, and member of The Memphis Boys Bobby Emmons has passed away. Known for writing such iconic songs as the #1 hits by Waylon Jennings “Luckenbach, Texas” and “Wurlitzer Prize (I Don’t Want To Get Over You),” Tanya Tucker’s hit “Love Me Like You Used Too,” “So Much Like My Dad” by George Strait, and many more, he was also a well-respected musician…
Around the passing of The Possum in 2013, I remember the news of his widow Nancy setting up an endowment and scholarship fund for MTSU in the name of George Jones. What I didn’t know, and what has gone somewhat under-reported, is that the passing of George and the endowment encouraged the faculty of MTSU to enter a class on the life of George Jones into the school’s curriculum.
Tragic news out of Nashville where where prolific and beloved bass player Henry Strzelecki has passed away after being struck by a vehicle while out for a walk Monday, December 22nd. Strzelecki experienced severe injuries including major head trauma in the accident, and was in a coma over the holidays. He eventually passed away from the injuries on December 30th.
Remember when members of Luke Bryan’s camp started crying when George Strait won the Academy of Country Music Entertainer of the Year in 2014? They said it was just a parting gift at the farewell of his career, and that he wasn’t an “Entertainer.” But once again we get validation that George Strait’s Entertainer win at both the CMA’s in 2013, and the ACM’s in 2014, were well deserved.
The signs continue to point towards the country music radio format officially splitting in two, with Top 40 country, and “Icon” country covering music from as far back as the 80’s vying for equal share of the country music listenership. Now another local radio station has switched to the new country format, and the verbiage accompanying the format change shows just how much sway NASH Icon is having.
Congratulations Justin Moore and Outlaws Like Me, you’re officially off the hot seat. Because right here, right now, I am unilaterally declaring that Florida Georgia Line’s new album Anything Goes is the worst album ever released in the history of country music. Ever. Including Florida Georgia Line’s first album Here’s To The Good Times, including anything else you can muster from the mainstream.
Though this new deluxe edition seems like an excellent way to experience the concert if you were unable to attend, or the perfect reminder if you were, or it might make a great gift for the country music fan in your family since it’s being released right before Christmas, I for one will not be purchasing this deluxe edition, or frankly any edition of “The Cowboy Rides Away.”