When Justin Moore’s “Outlaws Like Me” comes out, I will listen to it with the most un-bias perspective I can muster, and try my best to judge the music beyond the marketing. But in the meantime, I am not going to look at him as the problem, I am going to look my self and ask, “What did I do wrong? How can I resolve this? What can I do to make sure this doesn’t happen in the future?”
If you want to listen to a true, creative meld of hip hop and country, go listen to some Beck or some Paul’s Boutique-era Beastie Boys. But this Colt Ford stuff is garbage, despite a few catchy lines, and as far as I’m concerned, lending your name to a Colt Ford project lands you a card carrying membership to the “Colt Ford Collaboration Blacklist”. Here’s the names I’ve amassed so far…
For all the harmonizing and gospel and good old-time vibes, the heart of the Marty Stuart show is still high-octane, Outlaw-era, rock n’ roll-inspired hard driving country music. This is what Marty Stuart is doing. He’s slinging guitars, he’s kicking ass, and he is doing it with class. If anybody, no matter what stripes they wear, walks out of a Marty Stuart show shrugging their shoulder with a “meh” attitude, they don’t deserve the right to have an opinion.
Jimmy Carter (no, not the peanut-farming ex-prez) on 96.9 “The Kat” from North Carolina in his “Wednesday Dirt Alert” segment called the recently-released Academy of Country Music awards nominations “super-political” and asserts that he was specifically told that Carrie Underwood got snubbed for nominations from her label so that fellow label-mate Miranda Lambert would get some much needed press.
In the last few years, cataloging the dizzying amount of names that have been associated with music that sometimes is fundamentally the same has become almost impossible, while true sonic variations on the 12 traditional genres abound.
Bogged down arguments about who is what, and what to call it feel so tired, unproductive, and irrelevant, and as the outmoded systems of music distribution and radio promotion continue to erode, classifying your music in one of the traditional 12 genres is becoming less necessary. . .
The latest new low is this “duet” by Colt Ford with the aforementioned Kevin Fowler called “Hip Hop in a Honky Tonk.” You can probably guess the premise. 2011 might be the year that the two 2 supergenres of hip hop and country merge into a monogenre as the lost and creatively bankrupt music industry continues to contract, offering no contrast, no creativity, and no choice. What could be a finer example than this.
About this time last year, every website and periodical that regularly does these type of things put out their “Best of the Decade” lists. Problem is, they were all wrong. All of them. And not just for country music. For ALL of music, and for movies, TV shows, whatever. Why? No, not because I’m a raging culture snob, because officially the decade does not end until tonight.
Please indulge me for a minute here because I need to blow off some steam. Yes I’m glad that The Kennedy Center honored Merle Haggard and I guess you should be grateful for what you are given and not look a gift horse in the mouth. But in my opinion, the Kennedy Center’s presentation to Merle was horrifically mild and uninspired. Merle Haggard is an American treasure and deserves better.
Tonight the Poet of the Common Man, Merle Haggard will be honored with a Kennedy Center Honors award for his contributions to American music. Well, actually he received the award on December 5th, but the ceremony itself from December 5th in Washington DC will air tonight on CBS (as they say, check local listings for times).
It would make life much easier for me if on Saturday night, Justin Townes Earle put on the performance of a lifetime. With all the negative publicity he has received here and other places, but especially here, it has characterized me as a madman on a mission to destroy him. From NPR stuff, to more NPR stuff, to breaking the story on his arrest, it has branded me a Justin Townes Earle adversary in a way that has adversely effected my standing with many people I respect.
This week it was announced that Toby Keith’s Bullets in the Gun album is the new #1 in country. However this is the worst-selling country music #1 album since stats like this have been kept according to Billboard. A sheepish 71,000 copies sold, and even this is addition by subtraction, as the main reason it’s #1 is Kenny Chesney’s Hemingway’s Whiskey went in a 64% tailspin…
This is going to be a long one. So for those short of attention, let me summarize by saying that compared to most of the independent/Outlaw/underground country I am used to listening to and reviewing, this album is somewhere between mediocre and average. But compared to the rest of the material coming from major labels in Nashville, this album is remarkable.
A review of Jamey Johnson’s new album The Guitar Song is coming, but since every time the words Jamey and Johnson are mentioned a brew ha ensues, I hope with this to get some of the drama and positioning statements out of the way so the review can purely be about my take on the album, and not the sideshow the mention of his name creates.
When it boils right down to it, what is it going to take to Save Country Music? Hard work, education, and grass roots efforts are one way, but the magic bullet would be an artist that could rise above all the arguments dividing country music, and offer widespread appeal through a new approach while also […]
When I saw Roger Alan Wade a few weeks back at the musINK Festival in Dallas, afterward we headed over to a burger joint to talk about his cousin Johnny Knoxville, Outlaw music, Roger getting clean and sober among other things. The 9513 published a transcript of parts of that conversation that you can read […]
We love to paint pop country with a broad brush around here, which may not always be fair. Think about it: sure we might consider two artists like Taylor Swift and Brad Paisley pop country, but the degree of how much pop compared to country they are, or even their overall talent level can be […]
That’s right, I said it. And I’ll say it again, even though it will probably relegate me even more to being the black sheep of the country music blogsphere: Jamey Johnson is Pop Country’s “black friend.” No, this has nothing to do with race, and this really has very little to do with Jamey Johnson, […]
When Newsweek published an article calling out pop country a while back, I declared this was an important moment: a mainstream news outlet shining a big light on the sham of Nashville. Another reason I knew it was important was because Nashville took it like a shot right across the bow and came out swinging. […]
Tonight (Sunday) the joke that is the Academy of Country Music awards will be going down in Las Vegas. Place your bets that this show will SUCK, and I guarantee it will pay off in spades. I was going to write at length of why the ACM’s are a sham of the highest order, but […]
I get a lot of questions from people. I think that questions are a really interesting way to judge the mood or the interest of people at any given time. Its funny, because I rarely get the a question just once. It seems like the same things are racing through people’s minds at the same […]