The Trojan Horse of Country’s Purely Pop Singles Squirreled Away as Album Cuts
I can remember it like it was yesterday. It was April 28th, 2015, and Zac Brown Band had just released their latest album Jekyll + Hyde. We already knew to expect a pretty diverse affair after hearing the album’s lead single “Homegrown” months in advance, then the strange, but interesting prog metal song “Heavy Is The Head.” We also had word that Jason Isbell’s song “Dress Blues” would be included. But these weren’t the songs everyone was talking about on the morning of April 28th. It was the first track from Jekyll + Hyde that threw the public for a complete loop, and had us rethinking our previous notions of what the Zac Brown Band was.
The song was called “Beautiful Drug.”
Without any context or warning, Zac Brown had sprung on us the most purely EDM dance song imaginable, and as the very first song on the album. Three years Zac Brown fans had waited for this new full-length record, and this was how it started off. But immediately, on that day, April 28th, the excuses were already pouring in from die-hard Zac Brown fans and ultimately the Zac Brown camp itself.
“Trig, it won’t be released as a single. It’s just Zac Brown experimenting with EDM to get it out of his system after working with Avicii.” This is what I heard repeatedly. But no matter the assurances, you knew “Beautiful Drug” was headed to country radio. That was its purpose. You don’t put a song like that #1 in the track order otherwise.
READ: Zac Brown Band’s “Beautiful Drug” (A semi-rant)
And sure enough, five months later, “Beautiful Drug” was being shipped to radio stations all across the country, where it stalled momentarily at about #20 on the charts, setting off alarms to the point where Zac Brown Band changed promotional companies to Big Machine, and next thing you knew it was the #1 song in all of country—quite a feat for a song we were promise wouldn’t even be released as a single.
An eerily similar trajectory has now been scratched out by another song that is just as non country, and just as scandalously bad as “Beautiful Drug.” I’m speaking of Thomas Rhett’s “Vacation,” with its diabolically ridiculous baggage of 14 songwriters, and viral video featuring pubescent girls singing about drinking “cold ones.” “Vacation” is nothing more than two previous songs mashed together, with songwriting credits also going to multiple producers like the members of a surgery team.
Once again, we got assurances from fans and surrogates of the Thomas Rhett team that “Vacation” was just a lark—a novelty—and they would never release it to country radio. It was just something silly for the fans. And of course, on cue, “Vacation” has been shipped to country radio as Rhett’s new single.
READ: Thomas Rhett’s “Vacation” — aka Adolescent Girls in Bikinis Singing About Drinking Beer
We’re supposed to be talking about the great recovery of authenticity in country music after the resounding success of Chris Stapleton, but instead it feels like we’re on the precipice of a total and complete pop domination of mainstream country music like the genre has never seen before. We’re not talking about pop country anymore, we’re talking about pop and pop only across the board.
Go listen to the new Keith Urban record. Feast your ears on the new Maren Morris project that many are touting as a game changer. The total 100% pop revolution in country, perpetrated primarily by behind-the-scenes pop producers who have no desire the learn the modes of true country music, is nigh upon us ladies and gentlemen, and it’s not pretty.
Meanwhile Chris Stapleton’s long dominance at the top of the country albums charts has ceased (despite continued consistent sales), his new single “Parachute” is struggling mightily, and Sturgill Simpson’s A Sailor’s Guide to Earth, despite strong early sales, is beginning to slip prematurely. See, this is why we couldn’t declare country music saved after Stapleton’s dominance at the CMA and ACM Awards. There is still a long way to go, if many of the victories so far weren’t mostly symbolic instead of substantive and sustainable. Country radio still remains virtually untouched by the move to authenticity.
And that brings us to Little Big Town, who are super excited about their new pop record produced by Pharrell Williams called Wanderlust. Like Zac Brown Band’s “Beautiful Drug” and Thomas Rhett’s “Vacation” before it, all the assurances from Little Big Town are that the record came about almost as a lark, and is just a fun little side project before their next “country” effort. We can trust them, right? Hey, we probably should even give Little Big Town credit for being honest about the album being pop, instead of calling it country for marketing purposes, which is the underlying trend gripping country music ever since the success of Sam Hunt’s Montevallo.
But why then is Pharrell and Little Big Town performing the first single from the record “One Of Those Days” on the CMT Awards? I thought it was a country music presentation? Why did they perform together on the Grand Ole Opry? Perhaps Little Big Town will honor their promise to steer clear of country with the new Pharrell-produced album. But we’ve already been fooled twice. Perhaps a positive reception at the CMT Awards is the excuse Little Big Town needs to release “One Of Those Days” to country, like they didn’t plan it, and have no choice. And in the grand scheme of things, it may not matter if Little Big Town releases a Pharrell-produced single to country radio or not. They’re supposed to be the top flight country vocal group of our time, and their expending their efforts in an admittedly purely pop direction. So either way, country music loses.
It’s like a Trojan horse placed within country music’s midst, this current pop wave. Producers and labels squirrel away these purely pop earworms on records, selling them as album cuts, or side projects, warming the public up to the idea of them slowly, to only then unleash them on the public like ticking time bombs of pop awfulness. It’s a way to lull the gatekeepers into letting down their guard. Some of these pop songs may even be decent, but none of them are country.
It doesn’t mean there still isn’t an underlying revolution in country music occurring autonomously of the insular environment of country radio, or that inroads haven’t been made towards returning music of authenticity to the format. But the next time you’re told, “Oh, they won’t release that as a single. It’s just something fun for the fans,” you have no other choice but to not believe them. Because we’ve already been fooled twice, and in the copycat world of Music Row, it’s certain to happen again.
June 8, 2016 @ 9:10 am
Country music won’t be saved until the radio collapses and concert/music festival bubble pops. That’s what’s driving all of this, the radio industry is owned by essentially 2 companies right now and they just want music that they feel can appeal to the largest “mass” of people and the artists want to pump out this crap so they can draw in a broad and diverse audience to music fests and concerts to boost their ticket sales.
If/when these two aspects of the industry collapse or decline severely, you might see some actual artistic integrity return to the freaking genre (in terms of mainstream artists). As it stands, all the artists probably feel the need to pump out whatever dreck the labels, promoters and radio people want because the industry has proven it can create “hits” with whoever walks in the door. Look, Dierks Bentley’s latest album sucks. I’m not giving him a pass, but his choice (much like Gary Allan) is to basically break away from the mainstream pack and hope your label doesn’t put you in storage forever or give up on radio completely and pray a sizable part of your fanbase follows you, or just go with the flow. Fact is that every artist at radio is replaceable right now, there will be another Michael Ray or Chris Lane or Chase Rice that will happily record whatever the bossman wants and enjoy the lifestyle it brings.
To be clear, I’m not saying that artists are innocent in all of this, they aren’t. And you can make a damn good argument that it is more important to have some damn artistic integrity than sell your soul and record whatever. But, for a lot of these guys and girls this is their only shot at not living their lives out of their van, traveling down the road 300 nights a year and never having financial stability. For every Jason Isbell, Chris Stapleton or Sturgill Simpson that “makes it”, there are 10 guys who record an album or two, get insane love from websites and fans like the ones found here, and then disappear into the abyss and find some boring office job to pay their mortgage. The problem’s start at the top of the industry, namely the sad sacks of crap that run radio, tv and the labels.
June 8, 2016 @ 11:15 am
Mike W. is right. The ONLY way to end this shit is for each of us to get every TRUE COUNTRY fan we know to stop listening to mainstream country radio. Turn it off. Check out a classic hits station or the all-news AM talk station or whatever. Listen to WSM online (except in the afternoons when they have those two annoying women yammering about where to get a good bagel in town). Get a satellite radio and listen to Willie’s Roadhouse. All are better options.
Only when “country” stations see dramatic drops in their ratings will this garbage be flushed down the toilet like used toilet paper.
I know that young idiots will still tune into this crap, but the younger they are, the more fickle they will be. As soon as the bro-EDM-pop country trend dies (and it will, just like disco or urban cowboy did), they’ll tune out, too, leaving country programmers to re-examine their strategy of turning off long-time fans for short-term gain.
June 9, 2016 @ 6:48 pm
Don’t talk shit about Michael Ray. You obviously don’t own his album, its one of the most country sounding records put out in the past year or two. I have it and its great. However, I do agree that most artists on country radio now are “replaceable” and I also agree that Dierks Bentley is a total sellout with his new album (coming form a VERY disappointed, career long huge Dierks fan).
June 8, 2016 @ 9:14 am
I think its important to remember that in the case of LBT, they are actually a washed up pop group doing country. Their first album was pop, and failed, and then came The Road to Here. So it’s like they are returning to their first time around unsuccessful roots. I’m not nearly as upset when they do this as I am when Zac Brown does this shit. He knows better.
June 8, 2016 @ 9:25 am
I believe Sturgill’s premature slip has more to do with being an r ‘n b album and suffers more from a significant portion of his fan base being turned off by it.
June 8, 2016 @ 1:20 pm
This is probably something that deserves its own post, but I thought Sturgill’s initial sales numbers for the new album were slightly less than I expected. But then they appeared to stay strong for a few weeks, but they’ve tapered off a little quicker than I expected. Though there is still a lot of positivity around the album, I do think it’s slightly underperforing compared to what many were anticipating. There could be numerous reasons for this.
June 8, 2016 @ 5:25 pm
No seriously I love this shit. His fan base turned off? He’s sold out his entire tour. His “fan base” as you define then is one album. He did something different.
Guys like Sturgill and Isbell don’t sell many records because they are good music and the world is mostly made up of idiots.
June 8, 2016 @ 6:08 pm
I bought it, I was in his fan base – and it sucked. This idiot won’t be buying his next one or the one after that, either. I’m angry I preordered it and reflect positively in his sales numbers. I don’t blame him for doing what he wants. Good for him. Make a rap album for his daughter next. Maybe a polka one for his niece. I think all the people who loved metamodern jumped on his new one. Let’s see how the next one fares.
June 9, 2016 @ 10:44 am
The album didn’t suck… It just wasn’t what you wanted out of Sturgil. It’s a good album, but not a traditional country album,
June 10, 2016 @ 2:29 am
That tells me all I need to know. You can not like an album but why be angry about it? I can’t think of many bands or artists that I have followed for decades where I like every single album they release. That said so far I think Sturgill has put out three very good ones.
June 10, 2016 @ 6:04 am
Seems to me he’s angry at himself for pre-ordering an album he can’t stand as opposed to being angry at Sturgill.
June 8, 2016 @ 10:41 pm
I didn’t buy this new album but I’m still going to see him on tour hoping he’ll play some songs off high top mountain.
June 8, 2016 @ 9:54 am
(Thomas Rhett and the staff of Valory Music Group gather in a studio room the Monday after “Die A Happy Man” reaches #1 on Country radio)
Rhett: “Y’know, while it feels great to have the success my dad never had, I’m kinda over ripping off other people’s songs like Cooke and Sheeran! And this song is boring the more I listen to it too! We gotta mix it up and have more fun, man!”
Label Executive #1: “………………so, what do we do?”
(Zac Brown storms the conference room, in his mind-controlling Varvados tophat, interweaving his fingers and giving sinister chuckle)
Zac Brown: “Mmmmmm hmm hmm hmm hmm hmm hmm hmm, what you do, boy, is wage an ongoing contest as to how awful an album track you can make a single and STILL get it to #1!”
Label Executive #2: “But, last time I checked, it failed to really sell the album! Your album is still stuck at just north of 600,000 copies sold! ‘Uncaged’ lacked a monster hit, but it still sold over a milli…”
(Zac Brown chokes executive with Will-Bender glove)
Zac Brown: “SILENCE! Don’t make me blare my Auto-Tuba at you again!”
(Zac Brown shoves label executive forward in his chair and then dusts off his suit with one hand)
Zac Brown: “As you’ll recall, even much of the country listening populace insisted ‘Beautiful Drug’ would NEVER be released as a single to country radio because………………well……………..it’s not! But I did the unthinkable and said ‘F*** what you think! You’re not the boss of me! Here, take that!’ And I MADE IT go straight to #1! Because I will NOT be denied!”
Label Executive #1: “So, what’s your point?”
(Zac Brown places both palms on the table and leans forward, giving an intense stare and expression)
Zac Brown: “………………………….we approach my buddy Thomas Rhett’s single release strategy much the same way! We keep pummeling the sheeple with progressively worse tracks from his album until the gullible country listening audience can’t tell a country song apart from a Post Malone rap, bwaaaaaaaaaaaaaaaaaa ha ha ha ha ha ha!”
Label Executive #2: “So, what should we release first?”
Zac Brown: “Eh, release ‘T-Shirt’! It’s just obnoxiously annoying enough to make Trigger yank his collar, but merely sets the stage for what artillery we have in stock that will follow it!”
*
(Five Months Later At #1 Celebration Party For ‘T-Shirt'”)
Scott Borchetta: “Well, I can’t say I’m the least surprised that managed to go to #1! After all, Keith Urban got there with the same lyrical conceit years before! Still, says a lot about how much we’ve manipulated folks into thinking this is country music!”
Label Executive #1: “So………………….what’s next, Zac?”
(Zac places palms on table, smirking with sinister temptation)
Zac Brown: “………………………….it’s time! Release………………………’Vacation’! (tilts face to ceiling and gives off Vincent Price-esque evil laugh)
*
(Five Months Later At #1 Celebration Party For ‘Vacation'”)
(entire staff of Valory Music Group stand petrified in wide-eyed shock, with hair unkempt and collars unadjusted)
Label Executive #1: “………………………how the hell did THAT happen? How the hell did ‘Vacation’, of all things, actually manage to get to #1? I thought you were bluffing, Zac!”
Scott Borchetta: “…………………….I’ve seen a lot of things in my life, but I have to admit even I didn’t see that coming! Man, country radio listeners are sick, sick, SICK people! (shudders)”
Label Executive #2: (shivers, stuttering in speech) “S-s-soooooooo…………..w-w-what d-do w-w-w-w-w-w-we d-d-do n-n-n-n-n-now?”
(Zac Brown gives off an intense, militant pose)
Zac Brown: “…………………….it’s time, boys! Release……………………………..the only track marginally worse than ‘Vacation’………………………………….’SOUTH SIDE’! (gives off 15.0 Richter scale seismic evil cackle)
*
*
June 8, 2016 @ 11:45 am
This is beautiful.
June 8, 2016 @ 11:54 am
Best. Post. Ever.
June 8, 2016 @ 10:57 am
Nothing to add… just to say that this is a really good point well made.
June 8, 2016 @ 11:12 am
I don’t get how these singers are thinking theyre doing something never done before with the Edm country. In the 90’s the Swedish band “Rednex” Had that hit with a remake of cotton eye Joe. Who would of guessed 20 yrs later there style of music would actually be welcomed by Country fans smh. Edm is the only music genre I can not stand it gives me a raging headache, Seriously why does every mainstream genre have to have electronic sounds in it nowadays? That’s a big reason I listen to indie music most indie musicians are smart enough to make real music not robot sounds.
June 9, 2016 @ 7:15 am
And I actually LIKED Rednex version of ‘Cotton-Eyed Joe.’ STILL more country than Sam Hunt.
June 9, 2016 @ 7:53 am
Haha so true funny yet sad.
June 9, 2016 @ 5:53 pm
Compared to 90 to 95% of what’s on country radio these days, Rednex’s “Cotton Eye Joe” might as well be Hank Williams.
June 8, 2016 @ 11:23 am
It just gets worse and worse, doesn’t it?
June 8, 2016 @ 12:28 pm
Some people just expect too much from artists. Guys like Gary Allan, Dierks Bentley, and Eric Church have earned enough leeway with me to do something different every now and then. Guys like Thomas Rhett do not deserve any leeway at all though because they’ve been nothing but pop since day one. I’m not one of those people who only appreciates country though, I like pretty much anything as long as it’s authentic and has a soul to it, which the latest wave of pop/bro country trash definitely does not.
June 8, 2016 @ 1:24 pm
Those folks you named have all taken chances at one time or another that flew in the face of what country radio was doing. I remember when Smoke Rings in the Dark came out… I loved that album because it was so stylized and entertaining. It was like dropping into another dimension for 45 minutes. I liked most of Dierks’ Up on the Ridge and sometimes find myself in the mood for Eric Church’s brand of music. So, seeing guys like Allan and Dierks, who have taken chances by breaking away from what’s trending, circling back that way is disheartening. It’s like rooting for the strays to escape the herd only to see them voluntarily fall back in line.
Church IMO has always been what he’s becoming… not sure what kind of music he’s making, but it’s instantly recognizable a lot of it is fun to listen to.
As for ZBB… They’re great musicians, but their last couple albums have no continuity or focus and even their originals somehow make me feel like I’m listening to a really good cover band.
June 8, 2016 @ 12:53 pm
I honestly think that “Beautiful Drug” was one of those songs that sort of was “a hit that wasn’t a hit.” It sold moderately well (will probably go Gold soon, if it hasn’t already) and did reach #1 at radio, but it took 28 weeks to get there (much longer than the previous singles from “Jekyll + Hyde”) after stalling out in the 20s, and dropped like a rock once it stopped being promoted (it had a gargantuan audience loss of well over 11.7 million the week after it hit #1). It also had a weak peak at #5 on the Hot Country Songs chart (and #52 on the Hot 100). So it kind of interests me to see if “Vacation” will have a similar chart run…or become a smash hit for Rhett and have a chart run more comparable to “Die A Happy Man.” Obviously it’ll still reach #1 either way — there’s no way it’ll bomb, because it’s Rhett — but hopefully it’ll have unimpressive sales and a relatively slow chart climb that would show Big Machine that you shouldn’t release something on that level of awfulness. Unfortunately, while I doubt it’ll become as big of a hit as “Die A Happy Man”…my gut tells me that “Vacation” will probably have a similar chart run to Dierks Bentley’s “Somewhere On A Beach,” reaching #1 on Hot Country Songs while also having a rare multi-week reign at #1 on radio. Which I feel would be incentive enough for Big Machine to release the equally terrible “South Side” to radio as the follow-up single.
June 8, 2016 @ 3:05 pm
“Vacation” (unfortunately) does appear to be off to a solid start, right out of the gate.
It’s presently #26 on the iTunes Country chart: above many other tracks currently charting at radio including David Nail’s “Night’s On Fire”, Kip Moore’s “Running For You”, Brett Eldredge’s “Wanna Be That Song” and even the self-proclaimed “Justin Bieber of Country Music” Kane Brown’s debut single “Used To Love You Sober”.
It remains to be seen whether this will be its ceiling or whether, once it receives airplay and thus more attention from listeners, it drives sales up. But I’d have to admit the early signs bode well for “Vacation” especially considering it’s the fourth single from his current album.
June 8, 2016 @ 1:18 pm
the powers that be think this how you save a sinking ship. Commercial radio is irelevant. Most savy music consumers learn about new music from satalite radio and streaming services.
June 8, 2016 @ 2:59 pm
It is official: “Vacation” by Thomas Rhett is the worst “country” single I have ever heard. I know I’ve said that about Michael Ray’s “Real Men Love Jesus” (simply because of the offensive message it sends), Jason Aldean’s “Burnin’ It Down”, and Jerrod Neimann’s “Donkey”, but “Vacation” is even worse than the three of those songs combined. You know what is disheartening? The fact that people in my age demographic (I’m 19, will be 20 in August) eat this shit up and think Thomas Rhett is the greatest thing ever. In fact, the only song that could be slightly worse than this one is “South Side”, which I hope never sees the light of day at country radio (though I’m not holding my breath). Country music is supposed to be an art form of honest storytelling. “Vacation” is not an example of honest storytelling. “Vacation” is a stupid pop party song that sounds like it was written by the Teletubbies. This song is so bad that it makes Sam Hunt look like George Strait, and it makes FGL look intelligent. I couldn’t even get the whole way through it without almost losing my damn mind at how awful it is. That’s it. I’m done. I’m going to go wash my ears out with some Ashley Monroe now.
Rating for “Vacation”: Two guns way, way, way, way, way down.
June 8, 2016 @ 3:19 pm
If it wasn’t for the video, I’m not sure if I’d consider this, Tyler Farr’s “Redneck Crazy” or Old Dominion’s “Break Up With Him” the worst “country” single of all time (Jerrod Niemann’s “Donkey” is unmistakably awful too, but I’d dare argue the aforementioned songs are worse in that they justify douchebaggery to others, whereas with “Donkey”, it’s really just him bragging about how much of a douche he is.)
The music video for “Vacation” was released at the exact same time as the song when first published as a promotional track, so it’s admittedly difficult to evaluate the single without the video influencing my overall take on it. Because on its own, the song is mindlessly asinine and like a corporate wet dream with a grand total of SEVEN direct brand-name references (Coppertone, Walgreen’s, Red Stripe, Busch Light, Billabong, Solo Cup, Motel 6) in addition to two indirect references (coconut water to promote coconut water, Turks & Caicos to promote tourism)…………………but I honestly would still consider Farr and Old Dominion’s songs worse as a whole in that, again, they’re romanticizing being a jerk to others while with “Vacation” the narrator is just off in his own inflatable pool jacking off to how much money he’s going to make off all these corporate sponsorships.
But when you factor the video in……………..it gets a lot more challenging deciding which is worse: Farr’s video and single combined, or Rhett’s video and single combined. They’re historically horrible in different ways. Child exploitation on one hand, blackmail and glorifying vandalism and misogyny on the other. =/
June 10, 2016 @ 7:48 am
The sad thing is, for guys overgrown frat dudes like Thomas Rhett (and robots), this IS honest storytelling.
June 8, 2016 @ 3:00 pm
ZBB is most disappointing. That band is chock full of outstanding players, and they’re being ignored for shit songs as their leader chases, well, whatever it is he’s chasing. I still remember reading an article touting his partnership with Varvados and thinking, “This doesn’t bode well.”
And then I heard ‘Beautiful Drug’ and knew my fears were realized.
June 8, 2016 @ 3:15 pm
While crummy local radio programmers should bear some of the blame for the influx of solid pop into country (it’s not even fair to call it “pop country” anymore), does the majority of the blame fall on the shoulders of iHeart and Cumulus corporate, or should it also fall on the record labels for their less-than-desirable outputs? It seems like all three cause a vicious cycle where 1) Major label puts out pop song, 2) major radio picks up pop song, and 3) local programmers allow pop song to be played. Granted, local radio programmers are going the way of the dinosaur due to corporate override, but it all seems to start at the label and work its way down.
Do you suspect that there could be a new form of payola going on between major labels and major radio? It just doesn’t make sense how this influx continues despite major pushes against it. Is it possible that the oft-mentioned gatekeeper is letting anyone in if the price is right, or are major labels and major radio just that tone deaf towards the consumer?
June 8, 2016 @ 5:14 pm
Yawn. Thomas Rhett is a waste of oxygen.
Shitty music exists in every genre. Here’s an idea, don’t turn on radio. Expend energy to find the next good one instead.
June 8, 2016 @ 6:46 pm
So you quit posting my comments. Trigger, you are a faggot loser who needs to get over the circlejerk that is Stapleton, Simpson, and Isbell and you need to move TF on from bashing artists others like.
At least I know you will see this. Pussy.
June 8, 2016 @ 6:49 pm
I take it you don’t like me 🙂
June 9, 2016 @ 12:18 pm
Is that Dallas Davidson?
June 10, 2016 @ 1:11 pm
Like that guy can read…
June 8, 2016 @ 7:47 pm
Here’s a tip for Pharrell: I can’t hear the completely uninteresting vocals and lyrics, they’re drowned out by the completely uninteresting melody. Don’t do that.
June 8, 2016 @ 10:59 pm
they didn’t even do that song on the show they did some knock-off of the drake song one dance (which is way catchier and slightly more interesting musically in my opinion) but either way little big town is going in the completely wrong direction if this album sucks it could turn away some of their fans from experience it’s already happening to me i’ve been a fan of them for a while and while girl crush did become annoying after it got overplayed i liked it when i first heard it but this is just awful i’m not even sure it’s music it’s just noise
June 9, 2016 @ 5:41 am
Something else to add, Billy Currington wants to release a hip-hop album. Of course it comes with slogan “It’ll never hit country radio”……
http://buffalo.com/2016/06/08/news/music/concert-previews/country-star-currington-loves-l-beats/
Sammy Kershaw said it best, country music is the only genre that hates itself
June 9, 2016 @ 6:53 pm
Vacation is NOT a bad song…..I myself really like it, its a fun song to listen to while cruising around. However, to release it as a single is going way too far. I was shocked Rhett’s label didn’t release it after “Crash & Burn” and waited this far into the album to release it. Everyone knew that this song was going to be sent to country radio, and I mean everyone. I knew when they made a video for it that it was definitely being released as a single. Not a bad song, but it just does not belong on country radio….that simple.
June 9, 2016 @ 10:29 pm
agreed it’s not the best but it’s a fun party song but it does not belong on country radio pop radio yes but country radio it just opens up a much wider audience that hasn’t heard the album to bash the song
June 10, 2016 @ 3:54 pm
What i dont understand is if so many people are tunning in to the awards shows to see chrisstapleton and millions of people are buying his albums you would think the radio people would play more of him since he has a huge following. The more people listening the more money they make
June 12, 2016 @ 5:41 pm
It could be that the corporate radio powers-that-be are doing their level best to avoid or delay for as long as possible the inevitable: that they day they can sell crap to audiences is going to end.
But what I think is helping Stapleton and other fringe artists sell albums the way they are doing (with or without radio play)is that, for them, their idea of making albums is not necessarily geared by putting a bunch of radio-friendly hits amongst a bunch of “filler.” Their ideas seem to be more towards what we saw in rock from the late 1960s onward: album that were about an individual/group musical vision, frequently (though not always) conceptual or thematic in nature. It just may be that Stapleton sees himself as an Album artist, rather than a singles artist. This is the kind of concept that I don’t think Nashville has ever really understood.
June 10, 2016 @ 10:37 pm
Why is he sticking out his tongue?
June 12, 2016 @ 2:52 pm
I’m not sure if Parachute is neccesarily “struggling mightily”- the song is at the position 40 after six weeks. Not great, but I think the song will continue to climb and has the hopeful chance of perhaps reaching number 1.
I’m not as concerned, partially because I can’t help but think that “Vacation” is going to be your next “1994”- a song that is too awful to the masses to get anything above a mid-tier performance.
We shall see- I get your concern but I think we have to be patient.
June 17, 2016 @ 7:16 am
I like “Die a happy man.” I do not like “Vacation.”. It makes my “worst country songs of 2016” list so far. But in some universe somewhere I sort of like the beat (as a pop song.). However, as others have stated, the vibe of the song = not good, and the lyrics- ugh.
June 21, 2016 @ 10:08 pm
there’s a new single by chase bryant (or as i call him hunter hayes 2.0) that sounds similar to the last thomas rhett single t-shirt with all the background noise of vacation with only half the songwriters (7 songwriting credits as opposed to 14 but if you ask me 7 is still pretty bad) and it’s awful which is sad cause i kinda liked his first two singles especially take it on back
June 19, 2016 @ 8:31 pm
oh my, after reading a song had 14 songwriters, I just had to hear that vacation song for myself… I lasted about 20 seconds. What a hot mess that is. egads.
September 19, 2016 @ 8:09 pm
ladies and gents after peaking at number 30 on the airplay chart i have learned that vacation was just pulled from radio