My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Taylor Swift

Album Review: Little Big Town – ‘The Breaker’

the-breakerI sit here in amazement that five years have come and gone since Little Big Town scrapped Wayne Kirkpatrick for Jay Joyce and ensured they wouldn’t face the commercial disappointment that greeted 2010’s The Reasons Why ever again. They’ve since proven themselves to be a shameless mainstream act out for success at the expense of creative credibility.

You cannot deny they’ve achieved their greatest success in these years, winning every Vocal Group of the Year award for which they’ve been nominated. “Girl Crush” was another triumph, but disastrously overblown. I do like the song, but I’m more than glad to see its reign has come to an end at long last.

I last reviewed Pain Killer, which was easily among the worst mainstream country albums this decade. Their pop detour last spring, Wanderlust, was even worse. But I’ve been a fan of theirs for eleven years since I first heard “Boondocks” in 2005. I don’t know what keeps me coming back, especially in this era of their career, but here I am again.

Little Big Town has reunited with Joyce for The Breaker, their bid to regain their country momentum, which has proven successful thus far. Lead single “Better Man” is their fastest rising, zipping up the airplay chart at a breakneck speed unusual for them. It doesn’t hurt that the ballad, penned by Taylor Swift, is the best they’ve ever recorded. “Better Man” doesn’t break any new ground for Swift, she’s actually retreading much of what she’s already written, but I’m thrilled to see her finally return to form, if even for a one off. “Better Man” has the substance missing from her pop catalog.

The Breaker finds Little Big Town in the post-”Girl Crush” era, one in which they double down on Lori McKenna, in hopes of lightening striking twice. The album features no less than five of her writing credits. In anticipation of the album, they previewed “Happy People,” which she wrote with Hailey Waters. The track, mid-tempo pop, generalizes the characteristics of happy people, with a laundry list of signifiers:

Happy people don’t cheat

Happy people don’t lie

They don’t judge or hold a grudge, don’t criticize

Happy people don’t hate

Happy people don’t steal

Cause all the hurt sure ain’t worth all the guilt they feel

 

Happy people don’t fail

Happy people just learn

Don’t think that we’re above the push and shove

We just wait their turn

They always got a hand

Or a dollar to spare

Know the golden rule what you’re goin’ through

Even if it never been there

“We Went to the Beach” was the album’s second preview, is a refreshing change of pace with Philip Sweet on lead vocals. The track may seem like it has much in common with “Pontoon,” “Day Drinking” and “Pain Killer,” but it’s nowhere near as vapid. The ballad has a wonderfully engaging melody that perfectly frames Sweet’s buttery voice.

The third and final preview, “When Someone Stops Loving You,” is another of McKenna’s co-written offerings. The tastefully produced ethereal ballad is a showcase for Jimi Westbrook, who elevates the 1970s soft rock undertones with his smooth yet pleasing vocal turn.

McKenna is one of four writers on “Free,” a sonically adventurous ballad celebrating the not-so-novel idea that the best aspects of life don’t cost anything. “Lost In California,” is the only contribution solely by the Love Junkies, who co-wrote “Girl Crush.” The song, which should definitely be a single, is an excellent sultry ballad and one of the album’s strongest tracks outside of “Better Man.”

Karen and Kimberly join the Love Junkies on “Don’t Die Young, Don’t Get Old,” is a pleasant ballad with interesting finger snaps and their gorgeous harmonies. They continue to slow the pace on “Beat Up Bible,” an acoustic guitar-led ballad showcasing Schlapman singing lead. The track is very good albeit a bit bland. The title track, another one with Sweet singing lead, has a nice lyric but could’ve used a bit more life in the production.

The main difference between The Breaker and previous Little Big Town albums is the suppression of uptempo material, which is surprising given the current climate of mainstream country. The album isn’t devoid of such songs and numbers like “Night On Our Side,” aren’t not only terrible, they’re out of place. “Driving Around” isn’t much better and harkens back to a Little Big Town this album works so hard to leave behind. “Rollin,’” in which Westbrook sings lead, doesn’t even sound like them.

The Breaker is the beginning of a new chapter for Little Big Town, one that finds the band slowing the pace to highlight the substance they’ve brought back to their music. The Breaker is far from a perfect album, but it is a step in the right direction, even if that step has more in common with 1970s soft rock than country music.

Grade: B

50th CMA Awards: Grading the Twenty Performances

Instead of the typical CMA Awards prediction post, I thought it might be fun to rank the twenty performances, all of which brought something special to the evening. Here they are, in ascending order, with commentary:

20.

imrs-phpBeyoncé Feat. Dixie Chicks – Daddy’s Lessons

The most debated moment of the night was the worst performance in recent CMA history, an embarrassment to country music and the fifty years of the organization. Beyoncé was the antithesis of our genre with her staged antics and complete lack of authenticity. If Dixie Chicks had performed this song alone, like they did on tour, it would’ve been a slam-dunk. They were never the problem. Beyoncé is to blame for this mess.

Grade: F

19.

Kelsea Ballerini – Peter Pan

I feel bad for her. It seems Ballerini never got the memo that this was the CMA Awards and not a sideshow at Magic Kingdom. Everything about this was wrong – the visuals, wind machine and, most of all, the dancers. Once I saw the harness in plain sight, I knew it was over.

Grade: F 

 18.

362x204-q100_121d9e867599857df2132b3b6c77e0c8Luke Bryan – Move

Nashville is perennially behind the trends as evidenced by Bryan’s completely out of place performance. One of only two I purposefully fast forwarded through.

Grade: F 

 17.

Florida Georgia Line feat. Tim McGraw – May We All 

Stood out like a sore thumb, for all the wrong reasons. Not even McGraw could redeem this disaster.

Grade: F  

16.

gettyimages-620669440-43407842-8b2a-437b-a6e4-f643a1b5b104Carrie Underwood – Dirty Laundry

The newly minted Female Vocalist of the Year gave the third weakest performance of this year’s nominees. I commend her use of an all-female band, but disliked everything else from the visuals to Underwood’s dancing. It all starts with the song and this one is among her worst.

Grade: D+

15.

Thomas Rhett – Die A Happy Man

The biggest hit of the year gave Thomas Rhett a moment his other radio singles proves he doesn’t deserve. He remained gracious throughout the night, proving he can turn it on when it counts. I just wish it wasn’t an act.

Grade: B- 

14.

362x204-q100_b63432d74b677e29d35917efd7490170Keith Urban – Blue Ain’t Your Color

A perfectly serviceable performance of an above average song. He did nothing to stand out from the pack neither adding to nor distracting from the night’s more significant moments.

Grade: B

13.

Dierks Bentley feat. Elle King – Different for Girls 

At least Bentley wasn’t showcasing the rowdier side of Black. He and King didn’t do anything to stand out and the whole thing was more middle of the road than anything else.

Grade: B

 12.

landscape-1478192054-gettyimages-620693852Martina McBride, Reba McEntire, Kacey Musgraves, Jennifer Nettles and Carrie Underwood – Dolly Parton Tribute 

I have nothing against Parton nor do I deny her incredible legacy as a pioneer in the genre. But it’s time to honor someone else. Parton has been lauded and it’s so old at this point, it’s unspectacular. That’s not to say this wasn’t a great medley, it was. I just wish it had been for someone different, like say, Tanya Tucker.

Grade: B

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Predictions for the 58th Annual Grammy Awards

logoCountry music fans have much to look forward to come Grammy Night, which is coming up on Monday this year. Carrie Underwood and Sam Hunt will croon their duet “Heartbreat.” Chris Stapleton is slated to join Bonnie Raitt and others in a tribute to B.B. King. Luke Bryan is joining a slew of pop artists in honoring Lionel Richie, who is the Grammys MusiCares Person of the Year. Little Big Town will take the stage as well.

Best of all is the last minute announcement is that Eagles will honor Glenn Frey along with their good friend Jackson Browne. The rest of the show promises to be equally as jammed packed, with just about every major artist under the sun slated to take the stage.

Here are my predictions for the country nominees, plus categories that feature artists marketed within the country or American Roots genres. Please leave a comment and let us know who you think/hope will walk away with Grammy Gold.

Best Country Solo Performance

Little-Toy-GunsThis is a very solid group of nominees. Perennial favorite Carrie Underwood has lost this category only once – when Taylor Swift’s “White Horse” bested “Just A Dream.” Cam, surprisingly, is the weak link. Her hit version of “Burning House” is nowhere near as good as Emily Ann Roberts’ from The Voice last season. Who would’ve imagined a contestant on a reality singing competition would find the hidden nuance in a song its own singer couldn’t?

Should Win: “Chances Are” – Lee Ann Womack has yet to win a single award for her seventh album, a transitional record that showcased the artistic sensibilities she’s only hinted at until now. This is the album’s finest track, possibly the greatest performance she’s given to date. Real country music deserves to slay the competition.

Will Win: “Little Toy Guns” – It’s a fool’s game to bet against Carrie Underwood. Not only does she stand the strongest chance of winning, she’s the only one powerful enough to stop Chris Stapleton in his tracks. He will walk away a Grammy winner before the night it through, it just won’t be for the title track of his debut album.

Best Country Duo/Group Performance

81T8Z9H91mL._SL1500_This is a hodgepodge of nominees, with some forgettable performances along side some treasures.

Should Win: “If I Needed You” – Joey + Rory have the sentimental vote and a serge in name recognition since Joey’s cancer turned terminal last fall. They deserve to walk away the winner on what is their first and will likely be their only Grammy nomination.

Will Win: “Girl Crush” – There’s no stopping the Little Big Town behemoth, which is also in the running for the overall Song of the Year award. No one else is going to win this award.

Best Country Song

lovejunkies-660x400This is a heavyweight category, with a few extremely worthy nominees. I would love to see an upset here, but like the category above, there’s a very clear winner.

Should Win: “Hold My Hand” – Brandy Clark stole the show with her simple performance of this tune on last year’s telecast. The story of a woman determined to hold on to her man in the face of his ex is an instant classic. Clark deserves the prize for a tune she wrote and smartly kept for herself.

Will Win: “Girl Crush” – Should they lose Song of the Year, this will be their consolation prize. Should they win both, this will serve as icing on the cake.

travellerBest Country Album

Of all the country categories, this is easily the weakest. Little Big Town’s album was a dud, Kacey Musgraves’ was charming yet very uneven and Sam Hunt is…Same Hunt. The Grammys do deserve credit though – this is the first time in her career that Ashley Monroe has been nominated for an award for her own music.

Should Win: Traveller – I’m not fully on the Chris Stapleton bandwagon, but he does have the strongest album in this bunch. 

Will Win: Traveller – This is one, if not the only place, the Chris Stapleton bandwagon won’t be stopped.

A few more Predictions:

Jason-Isbell-24-frames-single-500x500Best American Roots Performance: I’d like to see Punch Brothers take this and finally win a Grammy of their own.

Best American Roots Song: Jason Isbell and “24 Frames.” The genius in the lyric is criminally underrated.

Best American Roots Album: I liked the upbeat nature of Punch Brothers Who’s Feeling Young Now better than the somber tone of The Phosphorescent Blues. They still deserve it, but I’d love to see Jason Isbell take this one. He hasn’t been recognized enough for his brilliant work.

Best Bluegrass Album: I haven’t a clue, but it would be interesting if the Steeldrivers take home an award the same night as their former lead singer Chris Stapleton does the same. If not, I’d go with Dale Ann Bradley.

Album of the Year: A strong category from which I’ve heard cases for each nominee to win. Stapleton could take it, as couldUnknown Alabama Shakes. But I’m going to go with Taylor Swift’s 1989, easily the most important pop album of the eligibility period.

Song of the Year: Taylor Swift has never won an award for her pop work with Max Martin. I expect that to change this year, when “Blank Space” deservedly takes this category. “Girl Crush” has a shot, but “Blank Space” is far more developed and clever.

Best New Artist: I’ll take a shot in the dark and choose Courtney Barnett. I just don’t see how this award could go to Sam Hunt. But stranger things have happened.

Predictions for the 50th annual ACM Awards

To celebrate their 50th anniversary, The Academy of Country Music Awards is being held at AT&T Stadium in Dallas, TX  this Sunday on CBS. Blake Shelton is returning for his fifth year as host while Luke Bryan will co-host for the third consecutive time. Notable performers include George Strait, Reba McEntire, Garth Brooks, and Dierks Bentley along with the usual mainstream country suspects. Nick Jonas and Christina Aguilera will also take the stage as part of unique duets.

Along with the regular awards, the ACM will also be handing out specially designed 50th anniversary Milestone Awards to Taylor Swift, Kenny Chesney, Miranda Lambert, Brooks & Dunn, Reba McEntire, Garth Brooks and George Strait. (Swift is expected to accept in person despite distancing herself from the genre).

Check out the nominations, here.

UnknownEntertainer of the Year

Garth Brooks, who has six previous wins, is nominated for the first time since 2001 in a year that saw him break ticket sale records, but underwhelm with his Man Against Machine album. The absence of Taylor Swift, George Strait and Tim McGraw left the category open for some fresh blood, resulting in Florida Georgia Line’s first nomination.

Should Win: Garth Brooks – he continues to show how it’s done, twenty-five years after his debut.

Will Win: Luke Bryan – he’ll ride his CMA momentum all the way to the finish line, scoring his second win in three nominations.

4e35192a48a8e1409d2f92873a0dbab7Male Vocalist of the Year

Despite eight previous nominations with five wins, it’s not shocking to see Brad Paisley included here. But after such an underwhelming year, it’s still surprising to see him included in a six-way tie. Dierks Bentley scores his second nomination in ten years, while half of the remaining four consist of previous winners. Jason Aldean has taken home this award for the past two years.

Should Win: Dierks Bentley – His only previous nomination came in 2005, while he was still in the promotional cycle for his sophomore album. His stature has only risen in the years since, with critical acclaim and consistent support from country radio, making him long overdue for his turn in the spotlight.   

Will Win: Luke Bryan – He’s arguably the biggest male artist in country music right now, eclipsing Aldean, Eric Church, and Blake Shelton with his stadium show, fast rising singles, and immense popularity. There’s little chance he’ll walk away empty handed, taking home his first win on his third consecutive nomination.

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Album Review: Gretchen Peters – ‘Blackbirds’

blackbirds250In the months leading up to the release of Blackbirds Gretchen Peters was inducted into the Nashville Songwriters Hall of Fame and she also performed as part of the Poets & Prophets series at the Country Music Hall of Fame with her husband Barry Walsh. The follow-up to her 2012 masterwork Hello Cruel World, Blackbirds is the most personal album of her illustrious career.

Peters began the songwriting process for Blackbirds in the summer of 2013, drawing inspiration from a week where she attended three funerals and a wedding. Thus, she explores mortality from varying perspectives, through transcendent bouts of vivid poetry, compositions commanding the listener’s attention without letting go.

The exquisitely bleak “Pretty Things,” co-written by Peters and Ben Glover, serves as the promotional single. A raw meditation on the fleeting lure of beauty, “Pretty Things” is a stunning battle cry about gratitude, and our need to appreciate what we have, while it’s still here.

Peters co-wrote two other tracks with Glover, a musical partner with which she feels both kinship and safety. The songs couldn’t exude a sharper contrast thematically, running the gamut from murder in Southern Louisiana to an account of a snowy winter set in 1960s New York City. The cunning murder ballad is the title track, a vibrant tale of destruction soaked in haunting riffs of electric guitar. A second version, recorded more soberly, closes the album. The wintry anecdote is “When You Comin’ Home,” a dobro drenched Dylan-esque folk song featuring singer-songwriter Johnny LaFave.

Peters, who often does her best work by herself, penned half of the album solo, including the album’s timely centerpiece, “When All You Got Is a Hammer.” The tune masterfully paints the mental conflict raging inside veterans as they readjust to life on home soil. Peters investigates another facet of darkness with “The House on Auburn Street,” set where she grew up. Framed with the image of a house burning down and recounting memories with a sibling, the track beautifully captures quite desperation, but the dragging melody could use a bit more cadence to get the story across most effectively.

Peters takes us to California to examine the mysteries of death on “Everything Falls Away.” She asks the questions that remain enigmatic while gifting us a piano based production that stretches her voice to an otherwordly sphere she rarely taps into, allowing it to crack at the most appropriate moments. Her vocal on “Jubilee” taps similar emotional territory, with a story about surrendering once death is near. Like “The House on Auburn Street,” the melody here is slow, and could’ve benefited from picking up the pace a little.

Her final solely written tune is “The Cure for the Pain,” which she wrote after a weekend in the hospital with a loved one. The acoustic guitar based ballad doesn’t offer much hope, and rests on the idea that the only cure for pain is more pain.

The only outside cut on Blackbirds comes from pop singer-songwriter David Mead. His “Nashville” is a track she’s loved for more than a decade, and she gives it a beautifully delicate reading. In searching for Mead’s version of the song, I was surprised to find a live cover by Taylor Swift, who apparently sang it a couple of years ago in her shows.

“Black Ribbons” reunites Peters with her musical sisters Matraca Berg and Suzy Bogguss, for a tune about a fisherman who lays his wife to rest in the aftermath of the BP oil spill. One of the album’s strongest tracks, thanks in a large part to the inclusion of tempo and the background vocals by both Berg and Bogguss, “Black Ribbons” is a brilliant illustration of despair that serves as a reminder of the pain the fisherman in the gulf went through during that time.

Blackbirds is masterfully lyrical, setting pain to music in a myriad of different contexts that put the listener at the heart of each story. The end result leaves that listener emotionally exhausted, which is why Blackbirds should be taken in small doses in order to fully appreciate all the goodness found within. Peters has been one of Nashville’s strongest female singer-songwriters for well over two decades now, but she’s only gotten better as she’s amassed more life experience and concentrated on creating soul baring masterworks. Like Hello Cruel World before it, Blackbirds is an album not to be missed.

Grade: A

Single Review: Maddie & Tae – ‘Fly’

Maddie-Tae-FlyI’ve found it difficult to properly critique Dot Records duo Maddie & Tae. “Girl In A Country Song” accomplished the objective of getting them noticed, but in no way was it a barometer by which to judge their worthiness as a country duo. What are we supposed to expect from them both sonically and lyrically? Did they just get lucky and happen to release the right song at the right time?

When an act launches with such a specific single, one that pushes all the right buttons and relies on heavily on a cleverly constructed message to gain exposure, they run the risk of one hit wonder status. Maddie & Tae now have to prove they can diversify while still riding the momentum of “Girl In A Country Song.”

Enter “Fly.” The duo’s second single and first ballad is cotton candy sweet, with their girlish vocals drenched in banjo and fiddle. The tune is just as anathematic as “Girl In A Country Song,” but it’s a softer battle cry. They’re aiming squarely at young women with a story about a girl on the cusp of staking it out on her own. The message is always timely, and while we’ve heard it a million times before, it still feels unsullied because of the arrangement.

“Fly” is such a breath of fresh air in the mainstream landscape it’s easy to overlook that like “Girl In A Country Song,” the story isn’t presented very deeply. It doesn’t rely on wrought clichés, but it does leave one longing for a few of Taylor Swift’s signature turns of phrase to elevate it ever so slightly.

That being said, “Fly” gives Maddie & Tae the opportunity to expand their color pallet, a task they accomplish with ease. It may be inoffensively safe, but it sounds so good that it makes up for its shortcomings by toying with our emotions. I’ve longed for the day when songs such as this would make their return to the mainstream, the day in which organic arrangements would cancel out all the obnoxious noise. I do wish it could be with a harder-hitting lyric, but at this point, “Fly” is enough of a step in the right direction that I’m willing to overlook it.

Grade: A-

Listen

 

 

Week ending 12/20/14: #1 albums this week in country music history

garth brooks - garth brooks and the magic of christmas1964: Buck Owens- Together Again (Capitol)

1969: Charley Pride – The Best of Charley Pride (RCA Victor)

1974: John Denver – Back Home Again (RCA)

1979: Kenny Rogers – Kenny (United Artists)

1984: Willie Nelson –  City of New Orleans (Columbia)

1989: Randy Travis – No Holdin’ Back (Warner Brothers)

1994: Tim McGraw – Not a Moment Too Soon (Curb)

1999: Garth Brooks – Garth Brooks and the Magic of Christmas (Capitol)

2004: Shania Twain – Greatest Hits (Mercury)

2009: Taylor Swift – Fearless (Big Machine)

2014: Garth Brooks – Man Against Machine (RCA/Pearl)

Week ending 12/13/14: #1 albums this week in country music history

buck owens - together again1964: Buck Owens- Together Again (Capitol)

1969: Johnny Cash – At San Quentin (Columbia)

1974: Merle Haggard – Merle Haggard Presents His 30th Album (Capitol)

1979: Kenny Rogers – Kenny (United Artists)

1984: Willie Nelson –  City of New Orleans (Columbia)

1989: Randy Travis – No Holdin’ Back (Warner Brothers)

1994: Tim McGraw – Not a Moment Too Soon (Curb)

1999: Shania Twain – Come On Over (Mercury)

2004: Shania Twain – Greatest Hits (Mercury)

2009: Taylor Swift – Fearless (Big Machine)

2014: Garth Brooks – Man Against Machine (RCA/Pearl)

Single Review: Miranda Lambert Featuring Little Big Town – ‘Smokin’ and Drinkin’

LBT-MirandaBack in 2009, I remember lamenting over the fact Miranda Lambert hadn’t won a CMA Female Vocalist of the Year award. She had just released “White Liar” and while the momentum was just beginning to swing in her direction, I couldn’t understand why she hadn’t yet been given her due.

I most certainly couldn’t have predicted what would come next, the erosion of pure female talent within the mainstream sector of the genre and a recording breaking five consecutive wins. She’s now won the CMA Female Vocalist of the Year trophy every year since Taylor Swift emerged victorious in 2009.

It’s not surprising that as Lambert’s career has reached incredible heights, her output of singles has grown increasingly spotty. Flashes of her brilliance are almost the exception now, whereas they seemed liked the rule when she was making a consistent home for herself in the top fifteen.

Despite a lyric co-written by newly minted CMA Song of the Year recipient Shane McAnally and Lambert favorites Luke Laird and Natalie Hemby, “Smokin’ and Drinkin’” isn’t much of a song. The lyrics rely on repetitiveness; a repetition of the chorus to stretch the thin tune well past the five minute mark.

But even more puzzling is the final recording, which pairs Lambert with Little Big Town. A collaboration between these two should be a cause for celebration, but the listener is left with an indistinguishably watered down version of both artists. If Karen Fairchild hadn’t interjected a few vocal kickbacks at the end, I probably wouldn’t have known Little Big Town were featured on the recording if I didn’t already know going in.

“Smokin’ and Drinkin’” isn’t a terrible song at all. The gorgeously relaxed bluesy production pairs nicely with the blending of vocals, which are perfectly understated for a tune seeking heavy rotation airplay in 2014. Even the message of the song, which condones alcohol and cigarettes (or cigars) as a worthy weekend pursuit, doesn’t turn me off.

I just can’t shake how bland everyone sounds together. A showcase for either the five-time CMA Female Vocalist or three-time CMA Vocal Group this is not. Which is a shame.

Grade: B

It’s that time of year: Predictions for the 48th annual CMA Awards

Logo for "The 48th Annual CMA Awards"With Brad Paisley and a pregnant Carrie Underwood set to host for the seventh straight year, and all the usual suspects set to perform, you’d think business would run as normal. But you’re wrong. Not only will this mark the first CMA telecast without Taylor Swift in nine years, pop starlet Ariana Grande is set to perform with Little Big Town while Meghan Trainor will sing her hit “All About That Bass” with Miranda Lambert. Few other surprises have been announced, but God only knows why Trisha Yearwood has been regulated to a presenter’s slot and not given prime exposure to sing “PrizeFighter” with Kelly Clarkson.

At any rate, here are the nominees. You’ll find my Should Win / Will Win perdictions below. Do you agree/disagree? Sound off in the comments.

Entertainer of the Year

george-strait-credit-vanessa-gavalya-650Blake Shelton and Keith Urban have one trophy apiece while George Strait is nominated the year he gave his final concert. Only Luke Bryan and Miranda Lambert, who are on their second nominations, have yet to win.

Should Win: George Strait – The Country Music Hall of Famer and country music legend wrapped his Cowboy Rides Away Tour a year after beating his younger competition to win this award for the first time in 24 years. When all is said and done, the CMA would be foolish to deny Strait his rightful place as an all-time category winner (four wins), along with Garth Brooks and Kenny Chesney.

Will Win: George Strait – Prissy Luke Bryan can have his turn with his third consecutive nod next year. Strait, who’ll never be eligible for this award again, will go out in style.

Female Vocalist of the Year

m.lambert_264_Rsm_1595A milestone year, as Martina McBride and Miranda Lambert go for their record fifth win and Taylor Swift makes what’ll likely be her final appearance in the category. No artist has won five trophies; only Reba has as many as McBride and Lambert, so it’ll be very interesting to see how the Country Music Association votes this year.

Should Win: Kacey Musgraves – a year after winning Best New Artist and scoring two Grammy Awards, the only nominee who hasn’t won should emerge victorious with just her second nomination. 

Will Win: Miranda Lambert – stranger things have happened, but the artist with the most nominations usually walks away with at least one major award. It’s definitely time to spread the wealth, but that likely won’t come this year, thus helping Lambert make CMA history.

 dierks-600x399Male Vocalist of the Year

Jason Aldean has never been much of a compelling singer, but his radio and touring success should’ve earned him his fourth consecutive nomination. Dierks Bentley is back four years after his last nod, correcting a major oversight, and Keith Urban shows up for the tenth consecutive time.

Should Win: Bentley – it’s a race this year between Bentley and Luke Bryan, both of who deserve first time wins. But Bentley gets the edge thanks to seniority, and it’s about damn time, too.

Will Win: Blake Shelton – the reining champion is about the only one who can stop Bentley’s momentum. His material is getting weaker and his shtick ever more tiresome, but he’ll endure himself to voters anyways.

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Country roads and greener pastures

TaylorI was really happy to hear about the release of Taylor Swift’s new single last week. Now there’s something you never thought you’d hear me say. But (you knew there had to be a “but” coming, didn’t you?) I should qualify that comment by saying my mood was not affected so much because I was looking forward to listening to new Taylor Swift music, but because the single “Shake It Off” is a watershed moment in Swift’s career, as the artist, her label and her publicists acknowledge that 1989, Swift’s forthcoming album, is not country, but pop.

I will be the first to argue that this is hardly news and that Swift’s music was never really country to begin with, but it’s nice to hear the people responsible for marketing her finally admit it. While Swift’s defenders have argued for years that she was bringing new fans to the country genre, I always maintained that her youthful fanbase was unlikely to embrace the genre at large, and that Swift herself would eventually decide that the pop world was a better fit for her. The shift began with the release of 2012’s “We Are Never Ever Getting Back Together”, which became the first Taylor Swift single to be deemed not country enough for country radio. It spent nine weeks at #1 anyway, due to a ridiculous change in Billboard’s chart tabulation methodology, but that is a separate topic.
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Album Review – Miranda Lambert – ‘Platinum’

MirandaLambertPlatinumMidway through Miranda Lambert’s new album Platinum comes a jarring exception to the rule as daring as the twin fiddles that opened Lee Ann Womack’s There’s More Where That Came From nine years ago. The one-two punch of a Tom T and Dixie Hall composition coupled with a glorious arrangement by The Time Jumpers has yielding “All That’s Left,” a rare nugget of traditional western swing with Lambert channeling high lonesome Patty Loveless. Besides producing one of the years’ standout recorded moments, “All That’s Left” is a crucial nod to our genre’s heritage, and the fulfillment of the promise Lambert showed while competing on Nashville Star.

Suffice it to say, there’s nothing else on Platinum that equals the brilliance of “All That’s Left,” since Lambert never turns that traditional or naturally twangy again. Instead she opts for a fifteen-slot smorgasbord, mixing country, pop, and rock in an effort to appeal to anyone who may find his or her way to the new music. In lesser hands the record would be an uneven mess, but Lambert is such an expert at crafting albums she can easily pair western swing and arena rock and have it all fit together as smaller parts of a cohesive whole.

The main theme threading through Platinum is one of getting older, whether for purposes of nostalgia, or literally aging. She continues the nostalgia trip she began with fantastic lead single “Automatic” on “Another Sunday In The South” as she recruits Jessi Alexander and fellow Pistol Annie Ashley Monroe to reminisce about the good ‘ol days of 90s country music, among southern signifiers like lazy afternoons and times spent on the front porch. The only worthwhile name check song in recent memory, “Another Sunday” cleverly weaves Restless Heart, Trace Adkins, Pam Tillis, Clint Black, Nitty Gritty Dirt Band and song namesake Shenandoah through the lyrics without pandering or sounding cutesy. I only wish she had referenced Diamond Rio and had producer Frank Liddell pepper the track with more of a 90s throwback production, which would’ve fit slightly better than the soft rockish vibe the track was given.

Lambert actually does recapture the Patty Loveless-like twang on “Old Shit,” Brent Cobb and Neil Mason’s love letter to the appealing nature of antiques. The framing technique of using the grandfather and granddaughter relationship coupled with the organic harmonica laced organic arrangement is charming, and while I usually don’t advocate for swearing in country songs, it actually works in this case and seems more appropriate than any of the cleaner words they could’ve used instead.

The aging side of getting older, which Lambert and company began tackling with “Being Pretty Ain’t Pretty” on Annie Up last year, is far more prevalent a force on Platinum. As has become customary for Lambert, she wrote thumping rocker “Bathroom Sink” solo. The lyric is scathing, detailing scary self-loathing that builds in intensity along with the electric guitars. Lambert’s phrasing is annoying, though; punctuating the rimes so much they begin to sound rudimentary. While true, “Gravity’s a Bitch,” which Lambert co-wrote with Scotty Wray, just doesn’t feel necessary to me. I think being outside the track’s demographic target aids in my assessment, but I do enjoy the decidedly country meets bluesy arrangement.

When the press release for the album said the title track was ‘Taylor Swift pop’ I was admittedly worried, no matter how many times I got down with the dubstep of “I Knew You Were Trouble” or the bubblegum of “22.” Since Max Martin isn’t anywhere near this album, “Platinum” is more “Red” than anything else, and the infamous ‘what doesn’t kill you only makes you blonder’ lyric is catchy as hell. Similarly themed and produced “Girls” is just as good, and like “Gravity’s a Bitch,” it’ll appeal quite nicely to the fairer sex.

The rest of Platinum truly defines the smorgasbord aspects of the album, with some conventional and extremely experimental tracks. Lambert co-wrote “Hard Staying Sober” with Natalie Hemby and Luke Laird and it ranks among her finest moments, with the decidedly country production and fabulously honest lyric about a woman who’s no good when her man isn’t present. “Holding On To You,” the closet Lambert comes to crooning a love song, is sonically reminiscent of Vince Gill’s 90s sound but with touches that makes it all her own. While good it’s a little too bland, as is “Babies Making Babies,” which boats a strong opening verse but eventually comes off less clever than it should’ve and not surprising enough for me.

Ever since Revolution, production on Lambert’s albums has to be taken with a grain of salt, which is unfortunately still the case here. I’m betting, more than anything since Brandy Clark and Lambert co-wrote it together with Heather Little, that “Too Rings Shy” has a strong lyric underneath the unlistenable production that found Lambert asking her production team to go out and lyrically record circus noises. It’s a shame they couldn’t make this work, since they pulled it off with Randy Scruggs reading the Oklahoma Farm Report in the background of “Easy Living” on Four The Record. There’s just no excuse why the track had to be mixed this intrusively.

Polarizing more than anything else is Lambert’s cover of Audra Mae’s “Little Red Wagon,” which I only understood after listening to Mae’s original version. Given that it’s a duet with Little Big Town, I know most everyone expected more from “Smokin’ and Drinkin,’ and I understand why (the approach isn’t traditional), but I really like the lyric and production, making the overall vibe work really well for me. The same is true about “Something Bad,” which isn’t a great song, but works because of the beat, and interplay between Lambert and Carrie Underwood. The two, even on a marginalized number like this one by Chris DeStefano, Brett James, and Priscilla Renea, sound extremely good together.

Nicolle Galyon and Jimmy Robbins teamed up with Hemby to write the album’s most important track, a love letter Lambert sings to Priscilla Presley. While the concept is questionable on paper, the results are a revelation and give Lambert a chance to directly address what she’s been going through since her husband’s career skyrocketed on The Voice. At a time when most artists of Lambert’s caliber are shying away from singing what they’re going through, Lambert is attacking her rise in celebrity head on with a clever lyric, interesting beat, and an all around engaging execution that makes “Priscilla” this album’s “Mama’s Broken Heart.”

Even without the added punch of co-writes with her fellow Nashville Star contestant Travis Howard or the inclusion of a bunch of artistic covers from the pens of Gillan Welch, Allison Moorer, Carline Carter, and others – Platinum ranks high in Lambert’s catalog. She’s gotten more introspective as she’s aged but instead of coasting on past success or suppressing her voice in favor of fitting in or pleasing people, she remains as sharp as ever tackling topics her closest contemporaries wouldn’t even touch. I didn’t care for this project on first listen, but now that I completely understand where she’s coming from, I’m fully on board. All that’s left is my desire she go even more country in her sound, but Platinum wouldn’t be a Miranda Lambert record without the added touch of Rock & Roll.

Grade: A

Single Review – Kacey Musgraves – ‘Keep It To Yourself’

Kacey-Musgraves-Keep-It-To-YourselfSo, it appears Mercury Nashville is applying the old adage, “Throw it against a wall and see if it sticks.”

With her last two attitude-laden singles meeting a lukewarm reception at radio, it is time to take a different approach and see if the safe ballad will ignite the radio gods and give Musgraves the breakthrough hit that would reverse course and put her on a more equal playing field with Miranda, Carrie, and Taylor.

On the surface Musgraves, Shane McAnally, and Luke Laird have composed a fairly straightforward breakup ballad – a guy is missing the girl he recently broke up with, trying to contact her, and hoping to win her back. The trio captures his pain wonderfully, from insomnia (‘It’s the drip of the sink, it’s the click of the clock, and you wonder if I’m sleeping’) to deep regret (‘you heard from your friends that I’m doing okay, and you’re thinking maybe you made a mistake’). He’s flailing but she isn’t, and that subtle confidence is what brilliantly sells the song.

Especially in the chorus I’ve always regarded “Keep It To Yourself” as similar to Lee Ann Womack’s “Last Call” in that they both feature drunk and venerable men (and were co-written by McAnally) and women who see the light and stop wasting their time with men who are beneath them. There’s no suggestion here that the ex-boyfriend in the song is a looser, just a heartbroken individual who wants his girl back.

And Musgraves couldn’t care less about reuniting with him, and it’s refreshing how she tells him to stay away:

Keep it to yourself

If you think that you still love me

Put it on a shelf

If you’re looking for someone

Make it someone else

When you’re drunk

And it’s late

And you’re missing me like hell

Keep it to yourself

There’s no hint of jealousy, immature ramblings about how men suck, or any need to blow up his house, car, or get revenge on him. She’s just doing better since they ended things and doesn’t want him around anymore. If he’s having trouble grabbling with that, then, that’s his problem. Taylor Swift could learn a thing or two from Musgraves’ adult perspective – mainly to quit pandering to the teenage audience in her romantic thinking. But then again, her immaturity has made Musgraves’ maturity that much more exhilarating.

Will “Keep It To Yourself” be a big hit? I doubt it, especially in the current climate of terrestrial country radio. That’s a shame because this is a song that deserves to be heard and in the past decade would’ve easily had enough glue to stick to that wall.

Grade: A  

Predictions for the 54th Annual Grammy Awards

1015599-grammy-award-617-409The most significant aspect of the 54th annual Grammy Awards (airing Sunday night on CBS) is who isn’t nominated. Those looking for bro-country kingpins Florida Georgia Line and Luke Bryan among the nominees are out of luck. “Cruise” was easily a contender in many categories, but thankfully was completely shut out. Instead we’re left with country nominees that still hold strong allegiances to mainstream country music, but aren’t a celebratory party for the dreck Music Row has been spitting out for years now.

Country Nominations

American Roots Nominations

Here are my predictions for Sunday’s big night:

Best Country Solo Performance

528c0c3f7cdadGiven what was popular in mainstream country in 2013, this is a spectacularly solid list of recordings that received airplay but didn’t embarrass the history of the genre. What’s surprising is the category’s diversity; only Miranda Lambert has won previously, while category heavyweights Taylor Swift, Carrie Underwood, Brad Paisley, and Keith Urban were shut out. It’s just too bad Kacey Musgraves, who has four other nominations, wasn’t included here as well for “Merry Go Round,” the best mainstream single of the eligibility period.

Should Win: “I Drive Your Truck” – Lee Brice gives an incredibly heartfelt vocal and proves he can pull off as close to a traditional ballad as country radio would play in 2013 

Will Win: “I Drive Your Truck” – The force of this song will propel it to victory

Make A Case For: “Mine Would Be You” – There’s been a lot of chatter that Blake Shelton is the only coach on The Voice who’s yet to win a Grammy Award. That’ll definitely change this year and I hope it does here, allowing a far more deserving nominee to pick up Best Country Album.

Best Country Duo/Group Performance 

2009-10-27-kenny-dolly-duet-fullThe Grammys were criticized in the 2000s for veering too far away from mainstream country and thus seeming out of touch with what was popular. They’ve since gone to extremes in the other direction, but it’s nice to see The Recording Academy hasn’t lost their artistic touch completely, as the solid nominees in this category prove.

Should Win: “You Can’t Make Old Friends” – thirty years after the pair was nominated (and lost) in this same category for “Islands In The Stream,” Kenny Rogers and Dolly Parton show up again with their second duet in as many years. The indelible magic is still there, even if the tempo has slowed with time.

Will Win: “Highway Don’t Care” – The Recording Academy loves Tim McGraw, Taylor Swift, and Keith Urban separately, the trio has 14 Grammys between them, and so collaboration between them will likely be too difficult for voters to resist.

Best Country Song

Merry_go_'roundIt says a lot about the overall quality of writing on Music Row these days when four of the nominees in this category show up twice among these five nominees. But it speaks volumes that half of Kacey Musgraves’ four nominations are found here, proving she’s more then just your average recording artist.

Should Win: “Merry Go Round” – I’d been waiting for just such a song for years and Musgraves, Shane McAnally, and Josh Osborne didn’t disappoint with their fantastic ode to suffocating small town life.

Will Win: “I Drive Your Truck” – the poignancy of this true story about a dad, the son who died in war, and the truck he left behind was too much for the CMA to ignore, and the same will prove true of the Recording Academy.

Best Country Album

UnknownThis is the weakest field of nominees in any of the country categories by a mile. The fare here is far too mainstream, clichéd, and sound-alike. I genuinely feel for those who’ll use this list as a benchmark of excellence for country music in 2013. Without the likes of Ashley Monroe among the nominees, that just isn’t fair.

Should Win: Same Trailer Different Park – given Musgraves’ competition, this shouldn’t even be a close call. She’s in a class of her own that the likes of McGraw, Shelton, and Jason Aldean couldn’t ascend to on their best day.

Will Win: Red – it’s general logic: if you’re nominated for Album of The Year, you usually take home your genre prize as a consolation or in some cases you win both. It isn’t always true, in which case Based On A True Story will take this, but it happens more often then not.

Best Americana Album

8fb2d908A solid list, although I expected to see Jason Isbell nominated here for Southeastern given the media blitz the CD was given. If he had been included, I would’ve been rooting for his win. Isbell’s album is just that good.

Should Win: Old Yellow Moon – Emmylou Harris is a Grammy Favorite and has released her strongest collection in years. That it’s also a duets project with Rodney Crowell more than forty years in the making only makes it sweeter.  

Will Win: One True Vine – Mavis Staples has won similar categories in the past few years and remains a Grammy favorite. I don’t see a reason to bet against her here.

Best Bluegrass Album 

0011661914124Without an eligible album in the running from Alison Krauss, the category is left without a ‘celebrity’ name to carry a win. Alan Jackson’s bluegrass project made the eligibility cut by a week, but was likely too new (despite the availability of advanced copies) to score a nomination.

Should Win: Streets of Baltimore

Will Win: Brothers of the Highway

Best New Artist 

imagesAn odd list, given that Lorde was left off while James Blake and Ed Sheeran were included despite not being new. Name recognition, and a plump spot on Taylor Swift’s tour, could propel Sheeran to the podium but he faces tough competition from Macklemore and Ryan Lewis, who had a breakout year.

Should Win: Kacey Musgraves – I have to stick with country music on this one. Of these nominees she’s the most well rounded mixing country with folk sensibilities in all the best ways. Plus, can any of the other acts claim half their nominations were for songwriting?

Will Win: Macklemore and Ryan Lewis – easily the most talked about duo in popular music in all of 2013. They may’ve hit it big with “Thrift Shop,” but their martial equality anthem “Same Love” showed their true artistry. Look for that to give them the edge over their competition.

2013 CMA Awards predictions – Who should and will win

Here are my predictions for the 47th annual show, airing next Wednesday on ABC. Do you agree/disagree? As always you can check out the nominations, here.

UnknownENTERTAINER OF THE YEAR

A solid list of well deserving nominees, minus Carrie Underwood, whose lack of a nomination has already incurred my wrath. Taylor Swift may be the biggest star here, but the Country Music Association deserve credit for keeping their traditional edge alive and including George Strait, whose in the middle of his final tour.

Should Win: George Strait – he won back-to-back in 1989 and 1990 and deserves his third win this year, while he’s half way through his two year goodbye to the road

Will Win: Luke Bryan – he’s the biggest male artist in country music right now, selling huge amounts of albums and ranking up hit after hit. He’s on top and here to stay, which a win in this category is going to prove.

Cruise - Single CoverSINGLE OF THE YEAR

A surprising yet diverse list of nominees with Florida Georgia Line’s behemoth squaring off with Darius Rucker’s mainstream reading of an underground smash going up against Kacey Musgraves’ critical favorite, and Miranda Lambert’s best dose of angst since “Gunpowder & Lead.” I only wish The Band Perry’s “Better Dig Two” was here in place of “Highway Don’t Care.”

Should Win: “Mama’s Broken Heart” – the fourth single from Four The Record was album’s best and proof that artists who get complacent should put down their own pen and let the professionals take over.

Will Win: “Cruise” – It’s the #1 song in country music history with a rap remix that also made it relevant in pop, and more than five million digital downloads. Is there any other single of the year?

imagesALBUM OF THE YEAR

Taylor Swift’s first (but likely not last) foray into pop is up against Kacey Musgraves’ critical smash and Little Big Town’s coming out. Underwood’s album is just okay and Shelton’s should’ve been replaced with Ashley Monroe’s Like A Rose.

Should Win: Same Trailer Different Park – the best album of the bunch comes from a 24-year-old who pours more life experience into her twelve songs than all the other nominees combined. One of the strongest major label debuts in years.

Will Win: Red – name recognition alone will endear her to voters, who’ve been handing this award to the biggest star for the past several years. Not even the fact it’s a pop album will hurt her.

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A Separation of Church and State: How the Country Music Association mostly got their nominations right this year

as13-dateIn 2006, the Country Music Association sent Faith Hill a clear message when Carrie Underwood was awarded Female Vocalist of the Year, only two singles removed from winning American Idol. They were ushering in a changing of the guard that sent ripple effects through country’s core women, making way for new talent at the helm.

Underwood has received a similar message this year with Taylor Swift being nominated for Entertainer of the Year in her place. Swift may be a bigger celebrity with a broader reach, but Underwood’s no slouch – a sold out tour, four #1 singles, ambassadorship for country music, and she’s been hosting the ceremony going on five consecutive years. Heck she just took over Sunday Night Football theme song duties.

In recent history all the top solo female artists (Reba McEntire, Shania Twain, and Faith Hill) have been nominated and won (Hill lost to Dixie Chicks in 2000) while her contemporaries Swift has won twice and Miranda Lambert received her only nod to date in 2010. That Underwood is being snubbed yet again is one of the biggest injustices in the 47-year history of the award show. Underwood and Swift should be competing in the category together – they both have rightfully earned their place in the category.

Underwood aside, it’s nice to see the Country Music Association mostly get it right this year. The major theme of the nominations is artistic quality, as evidenced by Kacey Musgraves receiving six nominations, a move I didn’t see coming. She’s been building a lot of buzz this year but with little support from country radio, I hardly gave her a chance. Her nominations prove the CMA is still looking for quality contemporary music and actually care about maintaining at least one shred of dignity. They should’ve gone further and showered Ashley Monroe with praise, too, but her outsider-looking-in status likely left her a square peg in a round hole and she was deemed too Americana for this mostly mainstream affair.

There was once a time when you could count the number of females who’ve taken home Album of the Year on one hand. That list has grown in the past few years thanks to wins by Lee Ann Womack (2005), Taylor Swift (2008) and Miranda Lambert (2010). This year Blake Shelton stands alone as the only solo male artist in the category, proving that airplay on country radio isn’t the only factor in scoring a nomination.

I believe whole heartedly that you cannot deny an artist success once they’ve achieved it, no matter how much you may dislike the singer or their song. The world may cry foul over Florida Georgia Line and “Cruise,” but they clearly earned the Single of the Year, Musical Event of the Year, Duo Of The Year, and New Artist nods. The song is a behemoth and is clearly being rewarded as such. Swift’s showering of affection is more puzzling, since the success of Red came in the pop market, but “Begin Again” and “Highway Don’t Care” did keep her relevant in her home genre this year.

Where the Country Music Association deserve the most credit is with the separation of church and state – if you notice, “Cruise” isn’t in the Song of the Year race nor is Here For The Good Times up for Album. In fact, none of the genre’s biggest names (Luke Bryan, Jason Aldean, or Shelton) have a Single or Song of the year nod, something I never thought I’d see. Absence by ‘bro-country’ powerhouses leaves the likes of “Merry Go ‘Round” and “Mama’s Broken Heart” to battle it out for the win.

It’s nice to see Nashville songwriters back in the Song of The Year race, too. Even more impressive is the CMA’s distinction in excellence, seeing that the best of commercial Nashville scored big, while the laundry list lovers are left to voyage down dirt roads with beer kegs, country girls, and pickup trucks. Brandy Clark and Shane McAnally are two of the best writers around right now and combined with Musgraves, they’re killer. What other writing team can claim two nominations in the same year?

In sizing up the New Artist competition, I was about to show my denial of a mass extinction, until I looked at the Billboard Airplay Chart and noticed “Parking Lot Party” in the top 10, on it’s way to becoming Lee Brice’s fourth consecutive number one. Like fellow nominee Kip Moore, he’s becoming a force for the future, and with his single “I Drive Your Truck” up for Song of the Year (Brice doesn’t have a writing credit on it), he has a better chance of winning than I gave him credit for initially. This is a very strong category, although Musgraves is the only nominee with proven artistic potential, a necessary ingredient for longevity.

I’ll have my predictions closer to the November 9 telecast, with a breakdown per category, and thoughts on each individual race. But overall the Country Music Association deserves credit for getting more right than wrong this year, mostly opting for artistic integrity over commercial viability.

Check out all the nominations here.     

Single Review – Danielle Bradbery – ‘The Heart of Dixie’

Danielle-Bradbery-The-Heart-Of-Dixie-Cover-ArtOne of the biggest mysteries in contemporary country music has been the ongoing stagnation at the top for female artists. Not since Taylor Swift debuted with “Tim McGraw” in June 2006, has a woman been able to have consistent airplay for their singles. Some (Jana Kramer and Kacey Musgraves) have launched big but seemingly fizzled out while others (Kellie Pickler and Ashton Shepherd) have been dropped by major labels after multiple albums worth of singles couldn’t peak better than top 20. You have to look at duos and groups to find any other females (Jennifer Nettles, Hillary Scott, Kimberly Perry, Shawna Thompson, Joey Martin Feek) who are having success and even they have enough male energy to keep them commercially viable.

Let’s not forget that two summers ago, fourteen days went by without a single song by a solo female in the top 30 on the Billboard Country Singles Chart. With the demographics in country music skewing younger and the music-seeking public increasingly more and more female, is there any hope this pattern will change? Can anyone break through the muck and join the ranks of Swift, Miranda Lambert, and Carrie Underwood?

If anyone can, it’s Danielle Bradbery. She has three strikes in her favor already – at 17 she’s young enough to appeal to the genre’s core demographic audience, she’s signed to the Big Machine label Group run by master monopolizer Scott Borchetta, and as winner of The Voice, she has Blake Shelton firmly in her corner. Plus, she’s an adorable bumpkin from Texas who has enough charisma and girl next door appeal to last for days.

They also nailed it with her debut single. “The Heart of Dixie” isn’t a great song lyrically speaking. Bradbery is singing about a girl named Dixie who flees her dead-end life (job and husband) for a better existence down south. But that’s it. There’s nothing else in Troy Verges, Brett James, and Caitlyn Smith’s lyric except a woman who gets up and goes – no finishing the story. How Matraca Berg or Gretchen Peters would’ve written the life out of this song 20 years ago. Also, could they have found an even bigger cliché than to name her Dixie?

But the weak lyric isn’t as important here as the melody. It has been far too long since a debut single by a fresh talent has come drenched in this much charming fiddle since probably Dixie Chicks. The production is a throwback to the early 2000s – think Sara Evans’ “Backseat of a Greyhound Bus” – and I couldn’t be happier. So what if the arrangement is a tad too cluttered? Who cares if Bradbery needs a little polish in her phrasing? There isn’t a rock drum or hick-hop line to be found here, and in 2013 country music that’s a very refreshing change of pace.

Bradbery isn’t the savior for female artists in country music. Expect for her Voice audition of “Mean” and a performance of “A Little Bit Stronger,” we’ve yet to hear Bradbery the artist, although Bradbery the puppet has been compelling thus far. Her lack of a booming vocal range like Underwood’s may also hurt her, but isn’t it time someone understated turned everything down a notch?

With everything she has going in her favor, Bradbery may be our genre’s best hope for fresh estrogen. I don’t see her injecting anything new into country music, but redirecting the focus back to a time when “Born To Fly”-type songs were topping the charts, isn’t a bad thing in my book. Hers mostly likely won’t be that lyrically strong, but if she can keep the fiddle and mandolin front and center – I won’t be complaining.

Grade: B 

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Week ending 8/3/13: #1 albums this week in country music history

brooks dunn - red dirt road1968: Johnny Cash – Johnny Cash at Folsom Prison (Columbia)

1973: Jeanne Pruett – Satin Sheets (MCA)

1978: Willie Nelson – Stardust (Columbia)

1983: Merle Haggard & Willie Nelson – Pancho & Lefty (Epic)

1988: Reba McEntire – Reba (MCA)

1993: Billy Ray Cyrus – It Won’t Be the Last (Mercury)

1998: Various Artists – Hope Floats: Music from the Motion Picture (Capitol)

2003: Brooks & Dunn – Red Dirt Road (Arista)

2008: Taylor Swift – Beautiful Eyes (Big Machine)

2013: Florida Georgia Line – Here’s To the Good Times (Republic Nashville)

Country Music’s Next Great Renaissance: The unthinkable success of Florida Georgia Line’s ‘Cruise’

Florida-Georgia-Line-Cruise-Remix-2013-1200x12002013 in country music:

  • Vince Gill and Paul Franklin release the sublime Bakersfield
  • Alan Jackson treats his fans to his long-awaited bluegrass record
  • Florida Georgia Line’s single “Cruise” surpasses Hank Snow’s “I’m Moving On” to become the longest #1 in the history of Billboard’s Hot Country Songs Chart, breaking a 63 year record

Wait, what? You read that right, folks. 2013 will forever be known as the year mainstream country music officially went to the dogs. I don’t even know how to begin expressing my anger, hiding my palpable sadness, or getting over a turn of events that marks the most significant failure in the history of country music.

So, why is this so bad? A popular song, that the public is responding to with open arms (5 million + downloads), has reaped the ultimate reward for its mammoth success: tenure at the top so rock solid, not even Taylor Swift can dislodge it. But isn’t that what it’s all about, being rewarded for your success? I mean, aren’t records meant to be broken at some point anyways?

Yes, all that is true. But it isn’t about breaking the record; it’s how the record was broken. In this case it came last October when Billboard significantly changed the way song ranks were calculated on the Hot Country Songs Chart. Instead of only factoring in radio airplay from country stations, data from streaming services downloads of songs, and airplay for country singles on pop stations were now in the running to determine where a song would place on the chart. A separate Country Airplay chart was created to stand in addition to the old chart with new rules.

Factoring in streaming data and song downloads is fine. It is 2013 after all. Music doesn’t come solely from the radio anymore. But they went a step further – when a country single crosses over to ‘the pop world’ and charts, that data is factored in, too. And thanks to a pop/rap remix featuring rapper Nelly, you now have the phenomenon that’s going on with “Cruise.” In other words, a song can log multiple weeks at #1 on the Hot Country Song chart without any significant airplay within the format.

So, Hank Snow was dislodged from the top by a song featuring a guest rapper that took full advantage of a chart that recently changed its rules. That’s my first issue with this “accomplishment.” On Engine 145 the other day, I commented that this record (which wasn’t broken at the time) meant nothing simply because of the chart tweak. If it had happened this time last year, obviously under the old rules, then I would have no problem at all. At least then it would’ve been fair game.

Garth Brooks accomplished something similar six years ago when his “More Than A Memory” single became the first country song ever to debut on the Billboard Hot Country Songs chart at #1. Did I cry foul? No, I didn’t. At the time, it didn’t feel like country music was selling out, even if, (allegedly) Clear Channel had a hand in getting the song played each hour for a week. It was just Brooks breaking yet another record on a chart that was equal opportunity for everyone.

This new Billboard Hot Country Songs Chart is so easy to manipulate it’s scary. Scott Borchetta, the mastermind at Big Machine Label Group, is currently the only one greedy enough to see this, the only label exec who’s conscience is suppressed deep enough to change the course of country music and not give a crap about how he is impacting the greater good of the genre. If we’ve learned anything from Hollywood celebrities and politicians, its money is the route of all evil, and people will stop at nothing to pocket big.

My other issue is the quality of the song. Is it really too much to ask for the song breaking the record to feature even a hint of artistic merit? J.R. Journey said it best last December:

“The only thing worse than this pair of deebags hitting a major breakthrough in their career with a piece of drivel like this will be the countless deebags-in-training that will be inspired to emulate Florida Georgia Line’s success. From the butchered grammar lyrics to the singers’ affected twang and dog tags around their necks, these guys are a legit training manual on how to be scuzzy deebag losers.”

I shudder to think about the doors being opened by the success of “Cruise.” Like “On The Other Hand” and “Any Man of Mine” before it, we’re likely in the middle of the next great renaissance in country music. But instead of eliciting excitement, I only feel dirty. “Cruise” marks the first time a cult song was met with such success and that’s most dangerous of all. Trailer Choir’s “Rockin’ The Beer Gut” was arguably just as big a fan hit, but country radio knew enough to spit it out before it got even half this big. Now there’s no telling what kinds of songs will be heard from radio speakers in the years to come.

Any historian with half a brain will look back at this and wonder – how do you go from “I’m Moving On” to “Cruise?” In those sixty-three years country music stopped evolving and outright changed. The closet pre-cursor to a track like “Cruise” is “The Devil Went Down To Georgia” but even the Charlie Daniels Band classic was loaded with equal parts sincerity and shredded fiddle. Country Universe’s Dan Milliken can believe, “love it, hate it, or tolerate it, the one thing “Cruise” undeniably had going for it was a mighty hook,” all he wants. But good or bad hooks aside; it doesn’t alter the fact that “Cruise” is the new benchmark for success in mainstream country. Lord help and save us all.

Week ending 7/27/13: #1 albums this week in country music history

trace adkins - greatest hits1968: Johnny Cash – Johnny Cash at Folsom Prison (Columbia)

1973: Jeanne Pruett – Satin Sheets (MCA)

1978: Willie Nelson – Stardust (Columbia)

1983: Merle Haggard & Willie Nelson – Pancho & Lefty (Epic)

1988: Reba McEntire – Reba (MCA)

1993: Billy Ray Cyrus – It Won’t Be the Last (Mercury)

1998: Various Artists – Hope Floats: Music from the Motion Picture (Capitol)

2003: Trace Adkins – Greatest Hits Collect, Vol. 1 (Capitol)

2008: Taylor Swift – Taylor Swift (Big Machine)

2013: Florida Georgia Line – Here’s To the Good Times (Republic Nashville)