I’m not sure how I came to this point in my writing career, but if I don’t post a review of a new Taylor Swift single post-haste, a clamor arises. Maybe it is because whether I am giving her credit for the death of country music or proclaiming she’s the last bastion of real music in popular culture, Taylor Swift is accountable for my most inspired writing. I’m still not sure how I feel about that.
When I first proposed the theory that all popular music was coalescing into one big mono-genre where even the two traditionally polarized genres of country and hip-hop would be living side by side, even I didn’t think the conversion would happen so quickly and be so indisputable. Looking at country music, the top albums, the top songs, and the top artists all have ties to the merging of all popular music.
Love ’em or hate ’em, it’s hard to dispute that the CMA Awards are the most important night in country music every year. The nominations announced last week had a few interesting wrinkles including Kelly Clarkson for Female Vocalist of the Year, so let’s take a in-depth look at what’s coming up on November 1st and make some predictions.
The hints of what Taylor Swift had in store for her new album were subtle, but seemed to be leaning towards a maturing of her music. She talked openly about how her next album would be a “darker” album. And then she premiered the first single from the album “We Are Never Ever Getting Back Together” and even the most devout Taylor Swift apologists were reminded very starkly that Taylor Swift is just a pop star.
Alright, so we’ve all now had our yucks over this story of a naked Randy Travis being arrested, and I am certainly not above guilt, but I am seeing some fairly alarming rhetoric surrounding this story that I feel is unhealthy to the country music environment. The details of the story may be funny, but the incident is not. Celebrity or no, Randy Travis is a human being who is clearly going through a moment of crisis in his life.
Oh how independent music nerds love to puff their chest out and pontificate about what’s wrong with the mainstream music industry, how it’s creatively bankrupt and was too slow to evolve to the onset of the digital format. What none of these nerds and experts seem to be willing to recognizing though is that over the last 18 months, music sales have increased. So what happened?
A couple of weeks after Jason Aldean’s country rap “Dirt Road Anthem” went triple-platinum, Taylor Swift was in Nashville shooting a video for an upcoming single “Both of Us” with hip-hop artists B.o.B. to be featured on B.o.B’s upcoming album Strange Clouds. Swift first shared the spotlight with the Georgia-based rapper in 2011 during the Dallas leg of her “Speak Now” tour.
I first used the phrase “Country Music Antichrist” in reference to Big Machine Records CEO Scott Borchetta about 2 1/2 years ago. I’d like to hold my chin high and say I was being prophetic, but in truth at the time I just thought it was a nasty way to label the guy primarily responsible for the rise of Taylor Swift. Little did I know Borchetta would become one of the most powerful men in all of music.
Quick to discount the young songstress, this is the first accusation you will see to why Taylor Swift’s success is a sham. Does Taylor Swift’s dad own Swift Trucking? Did he buy a bunch of albums and park them in a warehouse to artificially bloat sales numbers? Did her dad along with Scott Borchetta con Taylor’s first manager? Or is this all a side show to Taylor’s simple success and appeal?
Do we really think legions of her fans are going to gateway from her music to Waylon Jennings, or even Alan Jackson, or even Justin Townes Earle? And for as many people she may convert to the pop version of country, may she scare just as many away from the traditional side? What are the ratios here? For all the good she may do enticing young fans to the genre, is she chasing away the older ones?
Yesterday Tim McGraw announced in a press conference that he had signed with Scott Borchetta’s Big Machine Records after a 20-year career and protracted legal battle with Curb. The symbolism and significance surrounding the signing was striking, and spoke to the titanic shifts that are rearranging the country music landscape in Nashville at this very moment.
To say the song “Mean” by Taylor Swift has legs is a the grossest of all understatements. Since Saving Country Music’s coverage of the song has been limited to the context of criticism and conjecture, I though I would lay out all the facts about the song once and for all to see if we can discern who “Mean” is about.
As frequent readers of Saving Country Music will attest, over the years we’ve christened fun little nicknames for some our favorite pals of pop country. If you ever wondered where these names came from and why, here’s the explanation behind some of our favorite terms of antipathy. Tim McGraw – The Perfume Magnate, Kid Rock – The Wet Cigarette . . .
Like the most awful of childhood memories, I’ve attempted to suppress my recollections and thoughts of this year’s ACM Awards into the deepest and darkest recesses of my psyche, but like a bad acid reflux condition, the bile keeps rising. Yesterday Fox News contacted me for some quotes on a story entitled: Some country music fans say Ashton Kutcher not offensive, popular country music is.
Well shit, it looks like the Academy of Country Music Awards are this Sunday, so what better to get you prepared than to hold this charade up to the light and see what we’ve got. You should expect Reba McEntire’s skin to be taught, Blake Shelton’s jokes to be flat, Taylor Swift reactions to be be precocious, and let’s all pray to Jesus that the camera doesn’t find Keith Urban’s wife…
“Garth Brooks did for country music what pantyhose did for finger fucking.” This is a quote attributed to Waylon Jennings, and one that’s hard to argue against. But over time, Garth Brooks’ music has fallen more into favor with traditional country music fans who once revered him as the country music anti-Christ. Why? Because Garth’s music is actually country.
Can we just be thankful that for once there’s a female pop star that actually respects herself, and return that respect back lest our morbid obsession with her celebrity eventually ruins her? Turn TMZ off and find something better to do. Spend time with your kids, paint a picture, write a song, fix that toilet that’s been leaking for weeks. Christ.
Yeah, that’s right. I said it. I don’t care if T-Bone Burnett, or anybody else with a famous name produced your album. What I am concerned with is if it is good. Don’t get me wrong, I’m not saying T Bone Burnett is a bad producer. It’s just at some point hype far exceeds substance, and I think we have passed that point with the “T-Bone Burnett” name.
Something remarkable happened in music in 2011: sales stabilized. What the music industry is ignoring, as well as virtually everyone else in the SOPA argument, is this dramatic and unexpected stabilization of music sales. Where did it come from and why? When you dig deep into the numbers there are two answers: women and vinyl.
Have you ever wondered who actually listens to those songs they play on pop country radio? Here are the six primary Archetypes, or as Music Row refers to them, “target demographics”, that make up the audience of the pop country world: The “Affliction T-Shirt “New Outlaw” Doucher”, “Bored Suburban Soccer Mom”, “Glitter-Faced Pop Country Girl”…
When people talk about the “manufactured” pop star, what they mean is taking a pretty face, and pushing all the right buttons to make an artist that has mass appeal at the expense of soul and creativity. It is very easy to pigeon hole Taylor into this lot. But in truth Taylor Swift’s success has nothing to do with her following all the rules. She broke all of them.
I am tired of being embarrassed by being associated with country music. “Country” is our term, and our music. The “American Country Awards” have no right to it. Even more artists should boycott the awards next year, especially the beautiful and talented female artist who was dismissed by their “decade” award, and allow this thing to whiter on the vine.
So. The official country music douche Brantley Gilbert has himself a #1 song in the form of “Country Must Be Country Wide.” Our enemy has a new face friends and neighbors, and that face has a penciled-on beard and hoop earrings. Gilbert, his rising fame, and this song’s success are due in large part to the blurring of genre lines between popular music.
You know, it’s not very becoming to gloat. But sometimes you just can’t help it, like after you’ve been attacked by a mob of very angry (and curiously, very Asian) Scotty McCreery fans who told me that their beloved American Idol alum Scotty would NEVER lip sync, as I asserted he did on The CMA Awards a couple of weeks back.