I don’t proclaim to know where country music will go from here, but what I do know is that Justin Moore and Outlaws Like Me has solidified its place in country music history as one of the big bullet points on the timeline that denotes a major event. And that the event it denotes is not a positive one. And that’s not just my opinion.
Those previous positive statements I made about Justin? Well it looks like I need to back pedal pretty hard from them, because this album is awful. In my opinion, and I appreciate the gravity and the certitude of what I’m about to say, but in my opinion, Outlaws Like Me is the worst country music album I have ever heard, EVER.
Jason Aldean’s country-rap breakthrough hit “Dirt Road Anthem” is climbing the charts, and after the recent release of the video and his performance with Ludacris at the CMT Awards, I suspect it will remain in the Top 10, if not take one of the top tier spots very soon. So I thought it might be fun to peel the skin back and see what this puppy is made of.
We sit at the crossroads of the great technology paradigm. For all the music problems technology solved for artists and fans, it is now creating new ones, principally an astronomical glut in the sheer volume of music being produced, and then marketed specifically for commercial consumption on a global scale. The enjoyability of music depends on its place as a minority in the collective talents of human society.
When you look at the Arab Spring going on right now in the Middle East, it’s hard not to trivialize problems such as the current financial state of the American music industry or the creative freedom of its artists. However it’s not hard to draw parallels between the two as well: repressive regimes unwilling to contemporize continue or escalate the same heavy-handed oligarchical systems…
US intelligence officials are sifting through the new data looking for leads about what is left of Al Queda’s command and control structure. During the process, the CIA discovered one very curious bit of information that Osama Bin Laden believed American pop country star Taylor Swift’s recent country hit “Mean” was about him.
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?”
“Mean” might be the worst track on her Speak Now album. It is the most “country” song on the album, but it is not catchy, or clever, or well-crafted. Calling someone “Mean” is just such a base accusation. This isn’t punditry, it’s name calling. Maybe this song would have worked if she delved into the psychology of why people are mean, or even created some sympathy and understanding for her bullies. But instead she descends into the same “Mean” mentality herself…
Ah ha. So everyone wants to tell you that pop megastar Lada Gaga has “gone country”. And everyone wants to know what I think about it. Well to be honest with you, I think it is a brilliant stroke of mad genius. The song is horrendous of course, but that goes without saying. It’s not even meant to be good, so smattering it with criticism is irrelevant. What does matter is that you are talking about it…
I thought we had moved on from the “new Outlaw” era, to pop country stars trying to be the next Taylor Swift. Well apparently not. Now Miranda Lambert’s hubby Blake Shelton wants in on the fun, releasing a song called “Kiss My Country Ass”, an unapologetic, unveiled attempt at the Music Row “Laundry List” songwriting formula, that takes it to another level by rehashing David Allan Coe’s “If That Ain’t Country” and introducing “Outlaw” Blake to the spoon-fed masses.
I am quite astonished with this in so many different ways I don’t even know where to start. Actually I do. How about with the fact that Gwyneth, across multiple platforms, including movie, radio, and performance, and from a critical and commercial standpoint, has already failed in country music. The movie “Country Strong”, which is the impetus for this whole country music career, was a colossal critical and commercial failure.
I feel the need to iterate to you some observations for last night’s 2011 Grammy Awards, if only to get them off my chest. This is not entirely going to be a bitch fest. Every year they air the Grammy’s, and every year people are left scratching their heads and feeling hopelessness for music, and so it was to be expected that this year would be no different…
When music fans think about the art of songwriting, they usually want to have a romantic vision of the process–their favorite songwriters sitting down late at night in a dimly lit room, deep in the throes of passion and inspiration. Maybe a candle flickering above a blank piece of paper, with a glass of wine or whiskey to the side, and tears staining the page as they alleviate their heartache by bearing their soul in a song.
In truth, mainstream songwriting more resembles the unappealing aesthetics of industrial food production . . .
When I first roasted this song, a lot of people thought I’d gone too far. That I was tilting at windmills. That I was being some sort of ultra-moralist by pointing out the sexual nature of the song. Some thought it was a stretch to say it was targeted towards kids, and putting clips of children reciting an innocuous joke that had nothing to do with the actual song was a way for me to bend facts to fit my assertion.
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.
I have no doubt that Aaron Lewis is a proud American, and that he is a “country boy” in the sense that he lives in the country. After all, he wouldn’t shut the hell up about it for the 5 minutes of this song. I have no doubt that he likes to dress up in camo and run around his land playing GI Joe, driving around in a boy toy surplus army truck like Sergent Slaughter. But none of this makes a rock song country.
I hate predictability. I hate predictability in music, and I hate it in human activity. And so here we are. Trace Adkins has put out yet another dumb gimmick song. I guess then it is my job as a country music hardliner to harumpf and huff over how bad it is, but in the back of my mind I know that is what everyone is expecting, and what Trace & Co. are banking on. Stir the pot. Get people talking.
Last night was an occasion I’d been looking forward to for a while: Justin Townes Earle sober (hopefully) return to Austin, TX, but in the traveling party as the support act was Catlin Rose, a Nashville-based singer/songwriter that I’ve been asked to give an opinion on many times, but for whom online music and videos had rendered my opinion inconclusive heretofore.
Tay-Swizzle may hate criticism, or my criticism specifically, but personally, I love criticism. And the better the criticism, the more thought out and researched it is, the more I love it. It keeps me on my toes. It makes me work harder to make sure my assertions are solid. Any artist or writer, or really anybody should embrace and encourage good criticism. Good criticism can breed conflict that can turn into resolution and understanding.
Alright. So when I first listened to Taylor Swift’s new album Speak Now over two weeks ago, and heard for the first time the song “Mean,” I have to admit that it crossed my mind that the song might be about me. And not me as one Taylor Swift critic among many, but me, The Triggerman, the benevolent dictator of Saving Country Music, specifically.
But then I laughed off the idea and let it die. To think a song on Taylor’s album specifically targeted me seemed the utmost of conceit, and I was a little embarrassed for even letting my brain go there. And moreover, the thought of asserting this idea publicly seemed like the mother of all ego strokes.
After the 2010 CMA’s some wanted to hang a “Mission Accomplished” banner for saving country music because folks like Brad Paisley and Miranda Lambert walked away with big awards while the usual cast of pop country performers got the razz. Little they know this is all theater to keep us purists from not getting to restless, and setting up Taylor Swift to sweep the awards in 2011.
I know some were insulted when they rolled up to their beloved Saving Country Music and merely saw the title of this article, and those people can feel free to navigate to the comments section and voice their displeasure. But the simple fact is that Taylor Swift’s Speak Now is already the biggest album in all of music in the last five years, and on its way to being the biggest in a decade whose album sales overall look like an inversion of The Price Is Right’s mountain climber game.
Tonight is 2010’s installment of the CMA Awards, undoubtedly country music’s most important night, but one that is regularly marked by controversy. The kinky sex backroom deals that make mainstream country turn get exposed for all to see as awards are handed out as bribes and paybacks, with quality and talent being the least of criteria, if even a concern.