Call it Bro-Country, call it just plain bad, but Merle Haggard apparently prefers to call the puss oozing from the open sore that is modern-day radio country “Boogie Boogie Wham-Bam.” And hey, he’s Merle freaking Haggard, so he can call it whatever the hell he wants. “Too much boogie boogie wham-bam and not enough substance. It’s all the same musicians, too,” Merle said.
Oh Jason, this is most unfortunate. Since Jason Aldean has re-entered the single life after getting caught in a douche-soaked nightclub on the Sunset Strip handling up on some American Idol semifinalist castoff, now he thinks he’s Mr. Sexy, taking cues from Jerrod Niemann and entering the EDM space to keep the child support money streaming in.
Tom Petty has been known to speak his mind from time to time, including in August of 2013 when he criticized modern country as “Bad rock with a fiddle.” Now in a new interview with Canada’s CBC news organization, Petty has relayed some pointed opinions about what he characterizes as stars that have “won a game show” and that make “plastic computer music.”
Lost among country music’s great concept albums was the 1999 offering from Marty called “The Pilgrim” released 15 years ago today. A commercial flop that was poorly-promoted but well-received by all the critics who happened to receive a copy, The Pilgrim produced no singles and no awards, but it wasn’t meant to. This was Marty Stuart flexing his creative muscles…
It’s been my contention for years that if genre bending pioneer Beck ever made a straight up country record, it could have a similar effect as when The Byrds, heavily influenced by Gram Parsons, released Sweetheart of the Rodeo, allowing young hip listeners outside of country’s borders to realize the virtues of the genre.”I’m hearing the Byrds, Crosby Stills and Nash, Gram Parsons, Neil Young,” says Beck.
When it comes to mainstream country, there’s not many good guys left. They’ve either been aged out, shuffled along, they sold out to stay hip, or they’ve been otherwise marginalized to where you don’t hear about them anymore. And there doesn’t seem to be very many new good guys in the pipeline to replenish the ones we’ve lost. And then there’s Dierks Bentley.
2013 was a year defined by massive stories in country music. From historic deaths like the passing of country music writer Chet Flippo, artist and producer Tompall Glaser, producer and songwriter “Cowboy” Jack Clement, Willie Nelson guitarist Jody Payne and others, to the feuds that erupted as country music continues to be in the midst of a culture war, 2013 was tumultuous to say the least.
Country music in the second half of 2013 is going through some of the most historic changes the format has ever seen. The ever-present erosion of what the term “country” defines has never been greater, and the charge of preserving the roots of country music has never been more dire. As a symptom of all the change and upheaval, big-time artists are speaking out about the direction of country music like never before.
Country music in 2013 feels like the best of times, and the worst of times. While a few top male performers perpetrate untold atrocities on the integrity of the genre, the rise of independent music and infrastructure in the marketplace is now almost to the point where it equals its corporate counterpart. Quality songs and worthy artists are beginning to see more and more support…
Yesterday the big story was that Tom Petty had said some disparaging things about the direction of country music to the Rolling Stone. Though Petty’s comments did not mention pop country band Florida Georgia Line or anyone else specifically, it is probably safe to conclude that the duo was included. earlier today on Twitter, Florida Georgia Line responded with, “U think we care?”
If it seems like Saving Country Music is running a story every other day about an artist speaking out on the state of country music, it is because we are, and it’s because they are more and more frequently as modern pop country strives to set a lower standard for itself seemingly every day. Tom Petty is the latest. Following up on an anti modern country rant Petty delivered from the stage of the Beacon Theater in New York City…
“Take It And Break It” affords nine new original tracks from Rondeau, and is produced by R.S. Field who has previously worked with folks like Billy Joe Shaver and Hayes Carll, and produced Justin Townes Earle’s first two LP’s. This album has a great spirit and is a worthy receptacle for these original songs that now get to go out into the world and find inviting hearts.
This is one of the funnest, freshest, well-written, well-produced albums to come out this year. There’s good songs, good performances, and it’s bold. While still sounding relevant and un-obscure, Cody and The Departed were able to stay out of the well-worn grooves that run like tired veins through so much of mainstream music.
I really want to like Hayes Carll…People like to compare him to Guy Clark and Townes Van Zandt and Tom Waits. But in the end, though he’s a good songwriter, he’s not a great one, and the overselling and mischaracterizing of his music has led to some unnecessary criticism, and a missing of the point that his music is fun, and meant to be enjoyed.
First off, this blog is a follow up to the Shooter Jennings VS. Shelton Hank Williams III blog, so if you didn’t catch that one you might want to read it first. I always try to be as accurate as possible in my blogs when it comes to facts. I give my opinions more often […]