Someone had to start it.
― President Keyes, Wednesday, 11 January 2012 02:19 (1 year ago) Permalink
Just interviewed jazz keyboardist Erik Deutsch, whose primary gig is playing with Shooter Jennings. According to Deutsch, Jennings has two albums coming out this year, one in March and one in October.
― 誤訳侮辱, Wednesday, 11 January 2012 02:23 (1 year ago) Permalink
Well folks, it's about that time again:
TOP TEN COUNTRY ALBUMS OF 2011:
1. This One’s For Him: A Tribute to Guy Clark2. Miranda Lambert: Four The Record3. Sunny Sweeney: Concrete4. Lydia Loveless: Indestructible Machine5. Wanda Jackson: The Party Ain’t Over6. Middle Brother: Middle Brother7. John Doe: Keeper8. The Lost Notebooks of Hank Williams9. Blind Boys of Alabama: Take The High Road10. Pistol Annies: Hell on Heels
TOP TEN COUNTRY SINGLES OF 2011:
1. Jackson Browne: “You Know The Night (radio edit)”2. John Doe: “Peggy Sue Got Married”3. The Bangles: “I’ll Never Be Through With You”4. Buddy Miller featuring Lee Ann Womack: “Meds”5. Steve Earle with Allison Moorer: “Heaven Or Hell” 6. Matt King: “Cursing The Ohio”7. The Band Perry: “If I Die Young”8. Toby Keith: “Red Solo Cup”9. Jason Isbell and the 400 Unit: “Codeine”10. Little Big Town: “Shut Up Train”
TOP FIVE COUNTRY REISSUES OF 2011:
1. Johnny Cash: The Sun Years Vols. 1-42. Hank Williams: The Legend Begins3. Live From The Old Town School4. Mickey Newbury: An American Trilogy5. Neil Young/International Harvesters: A Treasure
COUNTRY MUSIC’S THREE BEST MALE VOCALISTS OF 2011:
1. Willie Nelson2. Merle Haggard3. Jamie Johnson
COUNTRY MUSIC’S THREE BEST FEMALE VOCALISTS OF 2011:
1. Sunny Sweeney2. Miranda Lambert3. Lee Ann Womack
COUNTRY MUSIC’S THREE BEST LIVE ACTS OF 2011:
1. Emmylou Harris & The Red Dirt Boys (Newport Folk Festival)2. Jamie Johnson & band (Farm Aid)3. Willie Nelson & band featuring Lukas Nelson (Farm Aid)(if allowed a fourth, would be Miranda Lambert & band with guests Pistol Annies, on Austin City Limits)
COUNTRY MUSIC’S THREE BEST SONGWRITERS OF 2011:
1. Guy Clark2. Miranda Lambert and various co-writers3.
COUNTRY MUSIC’S THREE BEST DUOS, TRIOS OR GROUPS OF 2011:
1. Middle Brother2. Pistol Annies3. Blind Boys of Alabama
COUNTRY MUSIC’S THREE BEST NEW ACTS OF 2011:
1. Middle Brother2. Pistol Annies3. Alabama Shakes
COUNTRY MUSIC’S THREE BEST OVERALL ACTS OF 2011:
1.Miranda Lambert (and band)2.Blind Boys of Alabama (and guests, incl Jame Johnson and Lee Ann Womack)
― dow, Wednesday, 25 January 2012 21:24 (1 year ago) Permalink
That's your ballot?
― curmudgeon, Wednesday, 25 January 2012 21:25 (1 year ago) Permalink
Yes n here's the Comments too ( kinda long, all for Don Allred's Nash Scene Ballot)
COUNTRY BALLOT 2011 COMMENTS:Early rock critic Nik Cohn once referred in passing to country music’s “elaborate sentimentality”, which is surely appropriate, but what I value most is the keep-a-goin’ obsessiveness, in some cases the morbid vitality, as obsession gives even fatalism a hard time. As I’ve said before, it also relates to the idea of beat (Paul Goodman said William Faulkner was beat, “in a complicated way” , a Faulkner way, like, "Now they could cross Grandlieu Street, there was traffic in it now; to clash and clang of light and bell trolley and automobile crashed and glared across the intersection, rushing to light curbchanneled spindrift of tortured and draggled serpentine and trodden confetti pending the dawn's whitewings----spent tinseldung of Momus' Nilebarge clatterfalque; ordered and marked by light and bell and carrying the two imitationleather bands and the drill mealsack they could now cross..." Mealsacks, though no hosses in that scene, but dig it) : Ginsberg said it came from beatitude, and also from Hernert Huncke saying, “Man, I’m beat”, after digging holes for the pot crop all day. Coulda been picking cotton, working at Auto Zone, doing taxes, figuring out the best place to take her or him, whatever. With a sharp, springy, never showy house band, led by a ditto vocalist always ready for non-pushy duet duty, The Guy Clark tribute mostly accentuates raging or talking back to or riding out or getting the hell out of the way of or otherwise dealing with the dying of the light, to the extent anyone can. All in the commons, and the details of each lot. Clark’s people got business to ‘tend to. And no matter how mellow things may sometimes get, “son of a bitch’s always bored me” is never too far away.Country can’t just be conceptual of course, it’s also the sound. Wanda Jackson’s frayed, yet unstoppable munchkin splay brings the country out of The Party Ain’t Over’s bobbing New Orleans horns, its rockabilly, Latin, gospel and o yeah, its country songs too (don’t ever take for granted that country always sounds like country). Jack White couldn’t have done it if Wanda couldn’t, but he did, production-wise and his Barney Fife bravura helps The Lost Notebooks of Hank Williams to represent Hank’s range, as does Hank’s own The Legend Begins (speedy exuberance of very early tracks, and the finally unscrewed-with, appropriately edited Health and Happiness Show broadcasts).Also soundwise, the penetrating clarity, so pure it courts distortion, sorta between Loretta Lynn and prime Robert Plant soprano of young Lydia Loveless perfectly suits the obsessive and even necessary truth-telling. She’s a rebel against social conventions, but she’s also 21 now, and what is the deal with late adolescence, and principle vs. fear, with alcohol as the mirror? Her voice keeps it all spinning like a country hurricane, and a safe room too (its own sense of structure, wherever artist and listener are going). Obsession’s clarity and tumult Keeps it more country than a show of somehow more fresh-than-vintage folk-rock chops too, ditto Middle Brother.Then there’s the way young Alabama Shakes make a bottle tree of their downhome soul chops, messages tucked into said bottles: “One two three, won’t you dance with me? By the bulllet holes in my sleeve. I could be your ticket home. (Clark’s characters might perk up their ears here, certainly the ones on John Doe’s Keeper, where love songs with teeth include “Little Tiger”, which might be about one of Doe’s daughters, prowling through discreetly observed private sorrows; a laidback motellude of a modern day Bonnie and Clyde, though if that’s what they are, she’s the only one who does the time, h’mmm--but he’s there when she gets off the bus, he’s gon’ help her do the parole; a fella who may be going back in time, or surely to some place where he and she paid their dues, and she should still be paying them, to keep her place in his sense of things (hey come to think of it, this might be a sequel to the parole song, I just thought of that); “Lucky Penny”, duet with Patty Griffin; and the one where he and current squeeze are having fun with whacky neighbors in sweet home Oildale, suburb of Bakersfield. Then there’s the transfigured (or at least much more intimate than the original) great lost r&b classic “Moonbeam” (the moon giveth, or bringeth into view, and taketh away).The Blind Boys of Alabama have taken the gospel trail with a variety of companions, including the adapted chestnuts of Jagger-Richard, Dylan and Waits, not to mention a collaborative album with the Preservation Hall Jazz Band. this time it’s country, with co-production by Jamie Johnson, who also sounds very much at home singing on several tracks, without pushing the doctrine--it’s all more poignant than that, including Lee Ann Womack’s turn (also in the way she finds her way through the clutter of Buddy Miller’s Majesty of Sliver Strings, for the non-campy “Meds”, written by Marc Ribot! Yeah, Miller’s men are trying to make more than a high-chopsy noodlefest, and it would be, if they’d written for and/or backed Womack and Griffin alll the way through). Not too long ago, when asked if he still believed in his religious songs, Dylan replied, “ I do when I’m singing them.” That’s what it’s all about.Bonus section--like the drum solo, possibly time for your latest bathroom break: notebook scribbles re Miiranda’s Four The Record--- Starts out like Coe, Mellow mischief, though eventually hey wouldn't this make a good sassy gal video, "Fine Tune" hot n bothered though also a just a bit Steve Milleresque, maybe for P&J Top Ten, the two [?] she wrote w out collabs are deepest? "Safe" seems magical thinking of material girl, but it's all subsumed in lyric and sonic imagery as salvation, comfort lovedrug etc, then "Dear Diamond", which is wrapped around my finger like him, seems like gonna be gloating but she feels guilty, burdened with the secret whose existence she can only confess to the dear diamond,glass-cutting, many-faceted and splendored diary thing, she can't quite unfold the secret--c'mon, roses won't tell, the diamond won't either--so magical images of power also cost, as she says, and she nails names her self in "Nobody's Fool"--but the music's always enjoyable at the very least, consolation prizes worth keeping always):(some are there to easily suggest how she'll do better, nay, slay, with 'em on stage)(also dig the jostling, minor key cabaret punk oompahpoid, begins with her cutting my bangs with rusty scissors, never mind the decorously painted lips bitten, "stoicism" is actually the "soft" way she won't be, won't fold away her sorrow like "My Mama's Broken Heart"--which is not a brash, rash or insensitive comparison, in this gathering of momentum and shadows, the pulsating hurt just starting to surface would be good to have Gogol Bordello cover.Hey presto! More on “Safe”--As with " Eugene" (best track so far on H3's windy baggy Ghost To A Ghost/Guttertown, his track also a bit Gogolesque) providing misery with fast brooding company, rattling the candles like she say she'll rattle in your drink when you're thirsty (that's in "Safe") No kerosene ect here, we jumpcuts and arcing subsets of theme and style provide musical sublimation the tone of it just won't settle for anything less than HELL YEAH (dito Sunny Sweeney, rolling blue but rolling)
Woulda Shoulda Coulda: For all that, I feel kinda bad about ditching the sweet hoot of Merle’s Working In Tennessee for Doe, but Merle seems a little too detached, relatively speaking Still, if this were a Top Twelve, he’d be in there, with the somewhut random canon of Willie’s Remember Me Vol. 1 (might as well be Vol XXVIII)/ Original Rolling Country 2011 comments on Merle:Working In Tennessee is a lot of fun, mostly barroom/boxcar/daydream sing-alongs, with a natcherly blooming windowbox of the fatalist, affirmative and absurd, especially on "Laugh It Off." Flexes some mellow heart muscle too (some, not a ton, which wouldn’t suit him, nor me).To this, xhuxx a.d. responded:Favorite song is the homelessness one about Saginaw that shares its name with a much worse Red Hot Chili Peppers hit; "Laugh It Off" second place probably. Solid record, but there's a lot I could quibble about, if I had time to quibble these days.And I then ‘llowed:Xxhux's aforementioned quibbles with Working In Tennessee might well incl use of sureshot themes, re aforementioned barroom/boxcar/daydream sing-alongs, but his whiff-of-bs-bearing paper airplanes are bullseye or close enough, often enough for lazier me to be impressed--he really is Working it, somewhut. Top Ten? We'll see.Another close call: Steve Earle’s I’ll Never Get Out of This World Alive, track by track pretty strong, but overall maybe a bit too repetitious point/effect/and/or approach-wise, still deserves some context, from my feature:In 2009, eight years after beginning his debut novel, country singer-songwriter Steve Earle decided he really had to finish the thing. He also felt the need to make a new album. Earle had moved from his longtime Nashville home base to Greenwich Village at the age of 50, while remaining blessed by his improbably durable seventh marriage, this one to chanteuse Allison Moorer, having a baby with her, and still keeping up with world news. Despite such inspirations, Earle was atypically short of original songs. So he came up with “Townes,” an often astute tribute to his formidable mentor, the late great Townes Van Zandt.Earle leads off with Van Zandt’s most famous song, “Pancho and Lefty.” The doomed, defiant outlaw Pancho’s possibly treacherous accomplice Lefty slips across the border, to linger in the cold shadows of Cleveland. “Townes was both characters,” Earle declared of the mercurially standard-setting, substance-abusing Van Zandt. Nevertheless, Van Zandt’s crucial advice went beyond reading and writing: “He told me to always use clean needles, “ Earle said.In Earle’s novel, “I’ll Never Get Out of This World Alive”, Doc Ebersole, who once claimed he could treat Hank Williams’ alcoholism and spinal bifida with drugs, has fled to San Antonio’s backstreets, after Williams’ death. The self-medicating Ebersole is often accosted by the novel’s eerie, jaunty namesake, Williams’ last hit released before he died. A decade later, it’s an eternal jukebox favorite of rich men and poor, also sometimes a cue for Williams’ ghost, which can be backed into at any minute, as it pleads for another shot. All of the novel’s characters, while evoking the songs and struggles of Earle and Van Zandt, morph into visions of “how different people come to experience spirituality,” as Earle put it. He defined spirituality as “a one-to-one encounter with God, or whatever word you use.”Earle’s new album, also titled “I’ll Never Get Out of This World Alive,” distills his own brand of frankly 12-step-based, self-observant spirituality. We’re greeted by some wry celebrations: Earle’s still “ walkin’ on the water, ‘cause I never learned to swim.” He and wife Moorer sound at home while gliding through the discreetly psychedelic aura of T-Bone Burnett’s Americana production, as they sing, “I love you baby, but I just can’t tell/This kinda love comes from Heaven or Hell.” (Well, that one did make Singles.)
Subjects for further study (( should listen more) On High Atmosphere, Diana Jone’s voice has sensuous austerity, a winter tree just flexible enough for a shudder, a curl, a lasso, a noose, a glint passing through sparkle, a tear, possibly even a beer, but don’t push it. Miranda Lambert should cover the intriguing “I Told The Man” (careful with your wicked mitts on her sister buddy, Jones is on to you, reallly on)Reissues (see above for mention of Hank’s; had a similar take on Cash’s Sun set. He seemed much more at home there than I expected)Drag City's Mickey Newbury box is a wildly uneven space cowboy extravaganza (in its basically spare, basement galaxy way). But overall, it leaves quite an afterglow (though I got it as a promo; dunno what I would have thought as a customer, or if I knew the original LPs--some darn good [and darn bad] prev. unreleased tracks, I know that much) Newbury brings the rain, while he ponders, way after midnight. Grim hallways, railways, but incense too. Kind of a dustbowl Donovan, if Donovan had been through Texas cotton fields and the Army, before getting back to the rabbit tobacco. But more of a personal darkness, however filtered through Music Row plot twists. His original version of "American Trilogy" (his combination and setting, for those unfamiliar, of "Dixie", "All My Trials" and "Battle Hymn of the Republic") is even better than Elvis's, in terms of calm gravitas and lucid overview (of experience, vs. what Elvis makes into a grand vision/illusion, although both versions def signify). You can also get a free four-track box sampler here: http://anamericantrilogy.com/splash ( Yep Roc's has or had a big sale on their 25th Anniversary series of Giant Sand deluxe and remastered reissues.A big sale in the sense you gotta buy all the albums to get a bargain, but I didn't know they'd been putting these out. From 1985's Valley of Rain to 1994's Purge & Slouch.)Neil Young's A Treasure turns out to be closer to Working In Tenn than I would have thought to expect, in terms of drollery, fecund foraging with Nashville cats (here touring as International Harvesters) and use of familiar elements. Only five prev unreleased titles, but the known ones haven't been redone on disc too often and everything's pretty sparky, except the first one, Amber Jean (and mebbe a couple others are too long). Several def (incl initial snoozes) def get better as they go along, which is not so common these days, much gracias. Fave: "Southern Pacific", where a forcibly retired railroad worker complains as the Harvesters klang and steam, way out on the redeye express. Kinda spooky--are they part of why he was retired? Note to self: This would have to be in Reissues, wouldn't it? Since Himes' Nashville Scene ballots have so far defined those as music rec. five or more years ago, and A Treasure's tracks, though just now released, are from mid-80s shows.( Yep Roc's has or had a big sale on their 25th Anniversary series of Giant Sand deluxe and remastered reissues.A big sale in the sense you gotta buy all the albums to get a bargain, but still.. From 1985's Valley of Rain to 1994's Purge & Slouch.)
― dow, Wednesday, 25 January 2012 21:27 (1 year ago) Permalink
No comment(s), as usual these days, but this is/was my ballot (disqualified Them Bird Things from the album list, even though it made my Pazz & Jop, since it technically came out -- in Finland! -- in 2010):
1. Randy Montana – Randy Montana (Mercury)2. Kentucky Headhunters – Dixie Lullabies (Red Dirt Music)3. Eric Church – Chief (EMI Nashville)4. Pistol Annies – Hell On Heels (Columbia)5. David Nail – The Sound Of A Million Dreams (MCA Nashville)6. Miranda Lambert – Four The Record (RCA Nashville)7. Toby Keith – Clancy’s Tavern (Show Dog-Universal)8. Merle Haggard – Working In Tennessee (Vanguard/Hag)9. Thompson Square – Thompson Square (Stoney Creek)10. Brantley Gilbert – Halfway To Heaven Deluxe (The Valory Music Co.)
1. Martina McBride – Teenage Daughters2. Toby Keith – Red Solo Cup3. Thompson Square – Are You Gonna Kiss Me Or Not4. Miranda Lambert – Baggage Claim5. Eric Church – Homeboy6. Taylor Swift – Mean7. Rosehill – Midnight America8. Steel Magnolia - Bulletproof9. Keith Urban – Long Hot Summer10. Reba McEntire – If I Were A Boy
1. Human Switchboard – Who’s Landing In My Hangar?: Anthology 1977-1984 (BarNone)2. (Various) – Keb Darge & Little Edith’s Legendary Wild Rockers (BBE)3. ZZ Top – Live In Germany 1980 (Eagle)4. Drive-By Truckers – Ugly Buildings, Whores & Politicians: Greatest Hits 1998-2009 (New West)5. Shemekia Copeland – Deluxe Edition (Alligator)
COUNTRY MUSIC’S THREE BEST MALE VOCALISTS OF 2011:1.Randy Montana2. David Nail3. Eric Church
1.Miranda Lambert2. Lauren Alaina3.Sunny Sweeney
1.Miranda Lambert2.Randy Montana3.Steve Blodgett
1.Them Bird Things2.Kentucky Headhunters3.Stealing Angels
1.Randy Montana2. Pistol Annies3. Thompson Square
1.Miranda Lambert2.Randy Montana3.Them Bird Things
― xhuxk, Wednesday, 25 January 2012 21:53 (1 year ago) Permalink
Human Switchboard as a country reissue? Wow, your definition of country is wider than mine.
― curmudgeon, Wednesday, 25 January 2012 21:59 (1 year ago) Permalink
I was hurting for country reissues (my others are a bit of a stretch, too); went back and listened to the CD again and confirmed my hunch that alt-country is sort of in Human Switchboard's lineage. Then, a couple weeks after voting, went back and re-read a *NY Rocker* cover story on the band from 1981. Turned out Bob Pfeifer cited country guys like Johnny Cash and Gram Parsons as songwriting influences. So I was sort of right!
― xhuxk, Wednesday, 25 January 2012 22:23 (1 year ago) Permalink
not a fan of the Mickey Newbury reissue?
― Moreno, Wednesday, 25 January 2012 22:32 (1 year ago) Permalink
Never heard it; not even sure I knew it existed. (Have barely ever heard him, to be honest.)
― xhuxk, Wednesday, 25 January 2012 22:43 (1 year ago) Permalink
Plus (just looked it up) I tend to avoid box sets that big as a matter of principle. Waaaaay too daunting. (Not to mention too expensive, if I was actually buying new CDs.) So if I did hear about it, it probably just didn't seem like something I'd want to spend time with. Would definitely pick up any old LPs by him if I saw them in dollar bins, though.
― xhuxk, Wednesday, 25 January 2012 23:02 (1 year ago) Permalink
You could check that free four-track download box sampler I linked in my comments, and several albums (none of which I've heard) are streaming here http://www.myspace.com/mickeynewbury/music/albumsThat's right: now that nobody listens to MySpace, it's got tons of albums, incl boxes and series, like the Hank and Cash reissue series I listed above.
― dow, Thursday, 26 January 2012 00:46 (1 year ago) Permalink
My Nashville Scene ballot was like this. Think I already thought of a few more songs that should have been in that list but oh well. Putting three Taylor Swift singles was kind of gimmicky maybe but at the time I was feeling like those songs were all three better than the rest of my songs list. Not sure I completely feel that way now. Also was maybe reacting to Geoff's 'what do you consider country? is taylor swift country?' pitch for comments which is getting to be a tiring question for me -
Albums1. Pistol Annies - Hell On Heels2. Randy Montana - Randy Montana3. Eric Church - Chief4. Dolly Parton - Better Day5. Lady Antebellum - We Own the Night6. George Strait - Here for a Good Time7. Luke Bryan - Tailgates and Tanlines8. Sunny Sweeney - Concrete9. Shelby Lynne - Revelation Road10. Green Pajamas - Green Pajamas Country
Songs1. Taylor Swift - Mean2. Taylor Swift - Sparks Fly3. Taylor Swift - The Story of Us4. Keith Urban - Long Hot Summer5. Randy Montana - Ain't Much Left of Lovin' You6. Lady Antebellum - We Owned the Night7. Eric Church - Drink in My Hand8. Luke Bryan - I Don't Want This Night to End9. Dolly Parton - Together You and I10. Thompson Square - Are You Gonna Kiss Me Or Not?
Male Vocalists1. Randy Montana2. Luke Bryan3. Eric Church
Female Vocalists1. Taylor Swift2. Sunny Sweeney3. Miranda Lambert
Duos/Groups1. Pistol Annies2. Lady Antebellum3. Thompson Square
New acts1. Pistol Annies2. Randy Montana3. Thompson Square
― erasingclouds, Thursday, 26 January 2012 00:52 (1 year ago) Permalink
Best 2012 country album I've heard so far is the new Dierks Bentley.
― erasingclouds, Thursday, 26 January 2012 00:53 (1 year ago) Permalink
Oh yeah, I can see from these ballots I still need to check Shelby Lynne (heard some good'uns from hers on radio) and Randy Montana. Them Birds Too, who have the best name in quite a while. Dang, speaking of reissues and comments, I forgot this comment for one of my reissues listed:Have a wild weekend anytime with Live From The Old Town School, going back and forth across the generations (1956 to the early 00s), via Chicago's Old Town School of Folk Music. Big Bill Broonzy, Pete Seeger (together and sep, much better than expected either way), Van Ronk, pungent as usual (rec for Beefheart vocal fans), Baez, John Hammond Jr., John Hartford (all three meh, but even they have some good effect in context), primo Dan Hicks & band (Hot Licks, Acoustic Warriors, or maybe in between?), Steve Goodman, Jon Langford, Martin Carthy ("Willie's Lady", awes), Malvina Reynolds, Odetta, Doc Watson (with Merle, I think), Oumou Sangare, John Renbourn & Jaqui McShee, Conjunto Cespedes. Mahalia Jackson,Andrew Bird, Ramblin Jack, Joaquin Diaz, Hamza El Din, Merle Travis--well, you get the drift. Great sequences and subsets, for the most part, and lots of fun, if a bit near the knuckle, as old school Brits say. Justification for inclusion on this ballot: enough country and blues overall insofar as a ricochet rainbow of mortality gets its licks in for sure, though so does the fried ice cream. A bunch I'd never heard of as well, not just the folkie pantheon.
― dow, Thursday, 26 January 2012 01:02 (1 year ago) Permalink
Fwiw, these three albums all would have made my top 10, had they qualified: The Band Perry (released late 2010), Darrell Scott (pushed back to early 2012), Stealing Angels (pushed back indefinitely, as far as I know.)
― xhuxk, Thursday, 26 January 2012 01:15 (1 year ago) Permalink
Yeah, I'd like to hear those (I've got the Scott, but havent listened yet, supposedly because of the push-back). Also forgot my comment on Middle Brother:Middle Brother's s/t album is what I didn't get, at least so far, from latest Deer Tick, in which McCauley seemed too assimilated, what w other songwriters' worthy contributions and a certain evenhanded approach within angsty considerations too, although the Gacy thing does takes it beyondo. But Middle Brother's set is infused with the scratchy star power of first two DT albums (enhanced rather than blurred by sometimes not knowing which of the triad is singing and/or writing lead). Even has the Dawes dude wanting muse to break his heart so he can sing "with blood and guts/but I can't do that, I'll just sing like myself." Not coping a plea, he makes his quieter approach work this time, then gets loud in a forthright, Deer Tick/McCauley-compatible way, without imitation. Third man Vasquez fits too, and like Will Hermes said of Monsters of Folk, sometimes we get group therapy when listening for group harmony (not too much of either in this case). And it's if soap opry too, it's also the kind of country folk punk tombstone splattered there-stands-the lass type testimony, which is just a natural attraction for extreme housecleaning measures.
― dow, Thursday, 26 January 2012 01:43 (1 year ago) Permalink
What I wrote about the Darrell Scott and David Nail albums, fwiw. (Actually chopped down some from the version I sent them, not always coherently, but I wrote long so I can't really complain I guess):
― xhuxk, Thursday, 26 January 2012 02:22 (1 year ago) Permalink
I really don't get the universal acclaim for Four The Record, which has some unbelievable highs but also some of the absolute worst songs of her entire career. "Safe," "Over You" and that duet with her hubby are so unbelievably non-descript and blah. It's not surprising to hear that she recorded the whole thing in a week. Lambert definitely put more effort into the Pistol Annies album, and it shows, gloriously.
what do you consider country? is taylor swift country?
really obnoxious but sadly believable that this is still a thing
― all the other twinks with their fucked up dicks (billy), Thursday, 26 January 2012 02:22 (1 year ago) Permalink
No he just means what is country, mainly, although yeah is-or-isn't-she is a tired example. xhuxx, didn't seem too choppy and good for getting Laughner in there, but why is it One Of The Most Overlooked of 2011, having long since been pushed back to 2012? (now I see I def have to check it out)
― dow, Thursday, 26 January 2012 02:42 (1 year ago) Permalink
Well, if we're posting ballots:
ALBUMS1. Hank 3, Ghost to a Ghost / Gutter Town2. Pistol Annies, Hell on Heels3. Sunny Sweeney, Concrete4. Noam Pikelny, Beat the Devil and Carry a Rail5. Connie Smith, Long Line of Heartaches6. Vince Gill, Guitar Slinger7. Matraca Berg, The Dreaming Fields8. Megafaun, Megafaun9. George Strait, Here for a Good Time10. Eric Church, Chief
SINGLES1. Billy Currington, “Love Done Gone”2. Taylor Swift, “Sparks Fly”3. The Civil Wars, “Barton Hollow”4. Pistol Annies, “Hell on Heels”5. Shelby Lynne, “Revelation Road”6. Zac Brown Band, “Colder Weather”7. Ronnie Dunn, “Cost of Livin’”8. Wanda Jackson, “Thunder on the Mountain”9. Keith Urban, “You Gonna Fly”10. Sunny Sweeney, “Staying’s Worse Than Leaving”
MALE VOCALISTS1. Hank 32. George Strait3. Vince Gill
FEMALE VOCALISTS1. Connie Smith2. Sunny Sweeney3. Matraca Berg
LIVE ACTS1. Drive-By Truckers2. Miranda Lambert3. Brad Paisley
SONGWRITERS1. Matraca Berg2. Taylor Swift3. Lori McKenna
DUOS, TRIOS OR GROUPS1. Pistol Annies2. The Civil Wars3. Zac Brown Band
NEW ACTS1. Caitlin Rose2. Alabama Shakes3. Mount Moriah
BEST OVERALL ACTS1. Hank 32. Pistol Annies3. Taylor Swift
I didn't actually submit any comments this year because, while I appreciated that what I've submitted has been posted pretty extensively for each of the past few years, the overall editorial tone last year just kind of rubbed me the wrong way and the "Is Taylor Swift country?" baiting this year wasn't doing it for me.
To that end, this:
Songs1. Taylor Swift - Mean2. Taylor Swift - Sparks Fly3. Taylor Swift - The Story of Us
The Dierks Bentley is solid, though the twitter fight between him and Jason Isbell about whether or not Bentley's single "Home" rips off a song from Isbell's first solo album has made both of them look like dicks.
The new album by Kellie Pickler is far better than I thought she was capable of. It's not a great album, but it's a very good one that doesn't overplay the traditionalism = credibility angle. Gun to my head, I honestly prefer it to Four the Record by a pretty substantial margin.
― jon_oh, Thursday, 26 January 2012 02:43 (1 year ago) Permalink
"Love Done Gone" was a gobsmackingly great surprise for me. That kind of shrugging, "the end of love can be a joyous relief instead of a tragedy" delirious delivery, and the funeral march horns at the end sound like a helluva wake. And I guess it's all personal bias, but as someone who had a relationship end recently without good reason, "like money in a slot machine/don't know what happened to you and me" seems an incredibly elegant turn of phrase.
― all the other twinks with their fucked up dicks (billy), Thursday, 26 January 2012 02:54 (1 year ago) Permalink
I think Four The Record is way more fun than Revolution was, myself. But right, neither record is super consistent. (Neither is Pistol Annies, to be perfectly honest. Though being short helps a lot.)
I actually liked Pickler's Small Town Girl a few years back.
― xhuxk, Thursday, 26 January 2012 02:57 (1 year ago) Permalink
why is it One Of The Most Overlooked of 2011, having long since been pushed back to 2012?
Well, "long since" or no, I wasn't aware of the pushback when I pitched the two albums together; one thing they edited out was the new release date, oddly enough -- I suppose because they wanted to keep the "overlooked of 2011" concept. So overlooked it didn't come out, I guess!
― xhuxk, Thursday, 26 January 2012 03:02 (1 year ago) Permalink
I really don't get the universal acclaim for Four The Record, which has some unbelievable highs but also some of the absolute worst songs of her entire career. "Safe," "Over You" and that duet with her hubby are so unbelievably non-descript and blah
I can go along with this.
I'm only now paying attention to the Church record ("Drink in My Hand").
My favorite record of the week: Tim McGraw's "The One That Got Away."
― Exile in lolville (Alfred, Lord Sotosyn), Thursday, 26 January 2012 03:05 (1 year ago) Permalink
The Church record is really consistent, the worst song being the Jesus one he didn't have a hand in writing. Though "funny how a melody sounds like a memory" in "Springsteen" was less on-the-nose and more breathtaking when Taylor Swift did it in "Tim McGraw."
― all the other twinks with their fucked up dicks (billy), Thursday, 26 January 2012 03:46 (1 year ago) Permalink
I splained "Safe" in my notes, wish she'd lose hubby (duet-wise anyway)
― dow, Thursday, 26 January 2012 04:07 (1 year ago) Permalink
― xhuxk, Thursday, 26 January 2012 15:37 (1 year ago) Permalink
I'm crazy late to this but the Pistol Annies album is great.
― this is funny u bitter dork (forksclovetofu), Friday, 27 January 2012 13:58 (1 year ago) Permalink
gonna be digging into y'alls lists later.
― this is funny u bitter dork (forksclovetofu), Friday, 27 January 2012 13:59 (1 year ago) Permalink
From the "Selected Factoids" section of the Nashville Scene poll:
Country music critics are becoming as amnesiac as country radio. Jamey Johnson, who dominated this poll in 2010 almost as thoroughly as Miranda Lambert did this year, virtually disappeared from the voting. True, Johnson didn't release an album in 2011, but he did release a single and continued to tour. Yet he fell from No. 1 to No. 38 in the artist-of-the-year category, from No. 1 to No. 16 in the male-vocalist category, from No. 1 to No. 46 in the songwriting category, from No. 3 to No. 15 in the live-act category, and from No. 6 to No. 105 in the singles category.
The indignant can-you-believe-this tone here is just baffling to me. If there's no need to consider whether or not someone actually released new material within the past year when voting for this poll, then I guess I'll just start listing Dwight Yoakam on my ballot every year.
Can't get on board with the idea of Four the Record being much fun, at least not after the first 5 songs, and especially not the run of tracks from "Over You" through "Oklahoma Sky" at the end.
― jon_oh, Friday, 27 January 2012 20:59 (1 year ago) Permalink
Yeah, that crazy bizarre Jamey Johnson complaint jumped right out at me, too -- I was considering mentioning it here. "Amnesia" has nothing to do with it. We're supposed to vote him artist or songwriter of the year based on a single (that came off his 2010 album, and got all the way to #51 on the country chart)? The Live Act thing (a category I don't vote in) might make a little sense, but that's it.
― xhuxk, Friday, 27 January 2012 21:23 (1 year ago) Permalink
Well, I guess his single could have placed. That it finished at #105 might well mean, duh, that people preferred whichever one finished at #6 last year. Since when are all songs by an artist created equal? (Also, I have to admit, in polls like this I probably personally tend to disfavor singles off albums I voted for in the previous year in general. One reason I didn't name more than one Taylor Swift single this year, maybe. I may have even subconsciously docked "Mean" a couple of places because in my head it seems more 2010 to me than 2011.)
As for the songwriter category, did Johnson have great new songs that were recorded by other artists this year? Like, I don't know, the Blind Boys Of Alabama or somebody? I have trouble keeping track of that sort of thing. But if not, given that he didn't put out any new songs himself, isn't it more strange that anybody would vote for him at all?
― xhuxk, Friday, 27 January 2012 22:40 (1 year ago) Permalink
Upthread are my votes for him in Best Male Vocalist, Best Live Act, where I listed him and his band, based in their Farm Aid set. He kept the vibe and distinctive momentum of The Guitar Album, playing into and out of songs continuously. Also upthread: him and Lee Ann on The Blind Boys' country set (made my Top Ten Albums)The Blind Boys of Alabama have taken the gospel trail with a variety of companions, including the adapted chestnuts of Jagger-Richard, Dylan and Waits, not to mention a collaborative album with the Preservation Hall Jazz Band. this time it’s country, with co-production by Jamie Johnson, who also sounds very much at home singing on several tracks, without pushing the doctrine--it’s all more poignant than that, including Lee Ann Womack’s turn (also in the way she finds her way through the clutter of Buddy Miller’s Majesty of Sliver Strings, for the non-campy “Meds”, written by Marc Ribot! Yeah, Miller’s men are trying to make more than a high-chopsy noodlefest, and it would be, if they’d written for and/or backed Womack and Griffin alll the way through). Not too long ago, when asked if he still believed in his religious songs, Dylan replied, “ I do when I’m singing them.” That’s what it’s all about.
― dow, Saturday, 28 January 2012 00:46 (1 year ago) Permalink
Well, Jamie didn't make this'un. Better luck next time.
Marco Club Connection Names Top Ten Country Dance Club Hits for 2011 (Nashville, Tenn. – Jan. 9, 2012) Luke Bryan and Blake Shelton topped the list of dance club hits in 2011, according to the Marco Club Connection’s 8th annual ranking of Country dance favorites.
Every December, the Nashville-based company surveys a panel of nearly 250 club owners, DJs and dance instructors from across the country to compile its rankings. Overall votes by the panel determine each song’s placement on the list.
“The added emphasis on dance in the music videos for this year’s top club hits was hugely popular with club DJs and choreographers,” says Club Connection Manager of Venue Marketing, Bobbe Morhiser. “By featuring dancers and dance clubs in the videos, these records leave a lasting connection with fans that dancing and Country music are a natural match.”
The 2011 Marco Club Connection Top Ten Country Dance Club Hits are: 1. Luke Bryan - “Country Girl (Shake It For Me)” 2. Blake Shelton - “Footloose” 3. Big & Rich - “Fake ID”4. Blake Shelton - “Honey Bee”5. Gloriana - “Wanna Take You Home”6. Billy Currington - “Love Done Gone”7. Jason Aldean - “Dirt Road Anthem”8. Dierks Bentley - “Am I The Only One”9. The Lacs - “Kickin’ Up Mud”10. Chris Young - “You”
“We are thrilled that ‘Country Girl (Shake It For Me)’ was selected as the No. 1 dance song of the year,” says Capitol/EMI Records Director of Media and Public Relations, Taryn Pray. “This single took Luke Bryan to the next level, and it’s great to have the recognition of the dance club community.” Peter Strickland, Sr. VP Brand Management & Sales for Warner Music Nashville echoed the excited sentiments of his colleagues at Capitol: “What a great way to start off 2012 finding out Warner Music Nashville has four of the Top 5 dance songs. Congratulations to Big & Rich, Gloriana and Blake Shelton.”
A complete archive of Club Connection’s Top Ten Country Dance Club Hits by year can be viewed at MarcoClubConnection.com.
― dow, Saturday, 28 January 2012 03:14 (1 year ago) Permalink
3. Big & Rich - “Fake ID”5. Gloriana - “Wanna Take You Home”9. The Lacs - “Kickin’ Up Mud”
Need to check these out. Never even heard of "The Lacs" til now, and I had no idea Big & Rich still existed.
As for Jamey, again, I get why somebody might've voted for him as one of the better live acts, but Don's explanation still doesn't explain the songwriter stuff. Did he get new songs he wrote out there, or not?
And as for singles, another very real possibility, even if people love the song, is that voters didn't know that Johnson's "Heartache" was a single in 2011. I sure never heard it on the radio myself. (Me, I was aware it was a single, mainly because Frank Kogan had listed it on his livejournal blog as one. Would have made my country top 15 or so, probably.) So it's still a really weird thing for Himes to highlight.
As for Lambert, I get that her 2011 album is frontloaded, but even if you ignore the first five tracks, you still have "Baggage Claim" and "Easy Living," for starters. What songs on Revolution are that entertaining, again? It's been a while, but I don't believe many are.
― xhuxk, Saturday, 28 January 2012 10:27 (1 year ago) Permalink
"Nobody's Fool," too - a real good pop-rocker.
Also, though I at least slightly prefer the Pistol Annies album and gave it a fairly glowing review in Rolling Stone of all places and totally understand its lyric sheet's recession angle and appreciate its concision, I'm somewhat dumbfounded by people who claim it's way better than the Lambert one. It's better on paper than it is in reality, and if anything, it's kind of too quasi-trad alt-country and could use more Lambert. Beyond "Takin' Pills," what exactly is super great on it??
― xhuxk, Saturday, 28 January 2012 10:40 (1 year ago) Permalink
And by "quasi-trad alt-country," guess I mean I feel like the Annies are trying to do this old-timey shtick and not quite pulling it off. I like the album (see RS review link below), but I sure don't love it as much as some people seem to. Some quieter parts totally bore me, to be honest.
― xhuxk, Saturday, 28 January 2012 10:53 (1 year ago) Permalink
Right. I do think the Pistol Annies album is superior to Four the Record by a pretty substantial margin, but, even still, I wouldn't rate it more highly than any of Lambert's first three albums, especially not Crazy Ex-Girlfriend.
I don't think Revolution is all that much "fun" outside of maybe three songs ("Only Prettier," "Me and Your Cigarettes," and the "Time to Get a Gun" cover), but I do think it's a far better-written and performed album than the new one. Since I'd say "Baggage Claim" is an utter mess of a song lyrically and Lambert's vocal track sounds tinny and pinched, I simply don't agree that there's really anything that elevates the back half of the album. I just don't think the songs are all that well-written-- or, in the cases of "Over You" and the duet with Shelton, are actively poor-- or performed well or produced in an interesting way.
It's a good album, sure, but she's better than "good," and I felt like the Pistol Annies album had more of what makes Lambert great in it than her own album did.
Still puzzled by the "amnesia" thing wrt Johnson, particularly that Himes used Taylor Swift's placement in the poll as an immediate counterpoint: She headlined a massively lucrative tour that led to her releasing her first live album, and she charted 3 top 5 singles last year, so why *wouldn't* her poll results reflect that visibility? And Johnson definitely doesn't have any new songwriting credits on any albums I've heard in the past year...
I had it at #12 on my list, so I'll second xhuxk's mention of the great new Kentucky Headhunters album. Good to have that crew back.
― jon_oh, Saturday, 28 January 2012 14:10 (1 year ago) Permalink
(Was hesitating to post this, since I wanted to listen to the Zach James once more to decide if I should actually endorse it or warn you off. Folkie naval gaze from someone whose voice is no better than mine, with better-than-I-was-expecting melodies. I still haven't given it a third spin. --I seem to have left out a word or two in the sentence "I'm counting Taylor Swift's _______ as basically 2010," so I inserted a blank. Did I intend to put one of the following: arias? ungulates? mortgage-backed securities? What do you think? --I forgot that "Hell On Heels" was a single as well as an album, would have ranked it #5 or thereabouts. And despite the nice things I say about Ashley down-list, I did generally find the track and album too cute. Or anyway, Timberlee does a better cute. --Least extensive country-listening year for me since 1999, which is why my list looks like yourn.)
1. Miranda Lambert - Four The Record2. Sunny Sweeney - Concrete3. Lauren Alaina - Wildflower4. Randy Montana - Randy Montana5. Pistol Annies - Hell On Heels6. Eric Church - Chief7. Zach James - Machos Pathos
1. Taylor Swift "Mean"2. Reba McEntire "If I Were A Boy"3. Jamey Johnson "Heartache"4. Eric Church "Homeboy"5. Reba McEntire "When Love Gets A Hold Of You"6. Gillian Welch "The Way It Goes"7. Taylor Swift "Sparks Fly"8. Keith Urban "Long Hot Summer"9. Aaron Lewis "Country Boy"10. The Band Perry "You Lie"
COUNTRY MUSIC'S THREE BEST MALE VOCALISTS OF 2011:
1. Toby Keith2. Jamey Johnson3. Eric Church
COUNTRY MUSIC'S THREE BEST FEMALE VOCALISTS OF 2011:
1. LeAnn Rimes2. Miranda Lambert 3. Sunny Sweeney
COUNTRY MUSIC'S THREE BEST LIVE ACTS OF 2011:
COUNTRY MUSIC'S THREE BEST SONGWRITERS OF 2011:
COUNTRY MUSIC'S THREE BEST DUOS, TRIOS OR GROUPS OF 2011:
1. The Band Perry2. Pistol Annies
COUNTRY MUSIC'S THREE BEST NEW ACTS OF 2011:
1. Lauren Alaina
COUNTRY MUSIC'S THREE BEST OVERALL ACTS OF 2011:
1. Miranda Lambert2. Sunny Sweeney3. Randy Montana
(I'm counting Taylor Swift's _______ as basically 2010, even if there were a few spillover singles; anyway, decided to leave a few spots in my best-of for other people.)
Was going to say that Aaron Lewis can go fuck himself, but unfortunately when he goes he'll be going with my vote, since he put enough strong feeling and playing into his posturing that he moved me. He doesn't want to move himself, unfortunately; all I've got to say is that deciding what you are and what you believe and sticking to it despite hell, highwater, and evidence and life is not half as admirable as he thinks it is. Wish there were more learning and less stand-taking, esp. when the stands are based on symbols rather than thought.
Spent most of the year thinking that country could go fuck itself as well, though I can't say it threw anything different at me to make me feel this way. It was already capitulating to its audience's insecurity over a decade ago when I fell in love with Montgomery Gentry's "She Couldn't Change Me." But there was way more pathos and poetry in the insecurities back then; now it feels rote, and mean. But Eric Church isn't rote and mean, even though his ideas are as retrogressive as the rest. The home he's extolling, that didn't feel like home to the homeboy brother, is at risk, and he knows it. Maybe he's a step away from 1965 (remember, how does it feel, with no direction home, etc.?), where home is something you discover, you build, not just something you assert.
Some quick takes: Randy Montana's album is a hard-rocking sigh. Would have ranked even higher if there'd been more of the rockers. Lauren Alaina has no clue what she's doing, but flounders with a voice that aches and worries. Ashley Monroe is cute and funny without being cloying, and I hope the attention given to the Pistol Annies finds its way to the rest of her work.
Have a nice New Year.
― Frank Kogan, Saturday, 28 January 2012 20:10 (1 year ago) Permalink
I asked Himes what he meant about Jamey, here's his reply:As I mentioned in the sidebar, he did get a smattering of support, but I thought his fall-off was pretty dramatic compared to the support that artists like Taylor Swift and Miranda Lambert get in a non-album year (and I like all three of them a lot). Did he stop being a notable live act and male vocalist just because he didn't release an album? That's what those other categories are for. It's not a big deal really, but I found it intriguing. I've since mentioned to him that the Blind Boys album and Farm Aid set got me voting Jamey into Best Vocalists, and him plus band into Best Live Acts. But he hasn't responded yet, so I don't know if he was thinking of them re the sidebar speculations. I guess those weren't so widely heard, but he did do some touring, aa seen on YouTube (ditto the FarmAid set, or chunks of it, so you still might get some of the effect of J and band playing continously into and out of songs, a la The Guitar Album). so yeah, voters coulda even shoulda checked him out. But there's so much to keep up with, o' course.
― dow, Sunday, 29 January 2012 22:09 (1 year ago) Permalink
The Kellie Pickler album is solid. Was Womack's There's More Where That Came From her model for smart gauze?
(it's not as sharp as the Womack record for)
― Exile in lolville (Alfred, Lord Sotosyn), Monday, 30 January 2012 15:20 (1 year ago) Permalink
Good album. First track seems like a strangely formal introduction. but overall much more consistently engaging than most tribs (def helps to have this house band) This One's For Him: A Tribute to Guy ClarkRises to No. 1 on the Americana Music Chart
No. 1 in Classic Country, No. 3 in Today's Country,No. 1 in Pop Tributes on Amazon Best Sellers Chart Album includes recordings by Rodney Crowell, Lyle Lovett, Joe Ely, Shawn Colvin, Willie Nelson, Kris Kristofferson, Emmylou Harris & John Prine, Patty Griffin, Ron Sexsmith, Rosanne Cash, Steve Earle, Vince Gill, Jerry Jeff Walker, Robert Earl Keen, and more. Produced by Tamara Saviano and Shawn Camp January 31, 2013
This One's For Him: A Tribute to Guy Clark tops the Americana Music Chart this week. The album is also No. 1 in Classic Country, No. 3 in Today's Country, No. 1 in Pop tributes and No. 24 overall on Amazon.com Best Sellers Rank. The collection was lovingly produced by GRAMMY-winning producer Tamara Saviano (Beautiful Dreamer: The Songs of Stephen Foster)—who is also working with Clark on his definitive biography—and frequent Clark co-writer Shawn Camp ("Sis Draper," "Magnolia Wind"). The tribute includes 30 tracks by 33 Americana artists who are friends and colleagues of Clark or who have been influenced by his remarkable compositions. The collection was mixed and mastered by Austin's Cedar Creek Records principal Fred Remmert. Part of the proceeds benefit the Center for Texas Music History at Texas State University, San Marcos, Texas. Volume 1
1. That Old Time Feeling – Rodney Crowell2. Anyhow I Love You – Lyle Lovett3. All He Wants Is You – Shawn Colvin4. Homeless – Shawn Camp5. Broken Hearted People – Ron Sexsmith6. Better Days – Rosanne Cash7. Desperadoes Waiting For A Train – Willie Nelson8. Baby Took A Limo To Memphis – Rosie Flores9. Magdalene – Kevin Welch10. Instant Coffee Blues – Suzy Bogguss11. Homegrown Tomatoes – Ray Wylie Hubbard12. Let Him Roll – John Townes Van Zandt II13. The Guitar – Ramblin’ Jack Elliott14. Cold Dog Soup – James McMurtry15. Worry B Gone – Hayes Carll
1. Dublin Blues – Joe Ely2. Magnolia Wind – Emmylou Harris & John Prine3. The Last Gunfighter Ballad – Steve Earle4. All Through Throwing Good Love After Bad – Verlon Thompson5. The Dark – Terri Hendrix6. LA Freeway – Radney Foster7. The Cape – Patty Griffin8. Hemingway’s Whiskey – Kris Kristofferson9. Texas Cookin’ – Gary Nicholson, Darrell Scott & Tim O’Brien10. Stuff That Works – Jack Ingram11. Randall Knife – Vince Gill12. Texas 1947 – Robert Earl Keen13. Old Friends – Terry Allen14. She Ain’t Goin’ Nowhere – The Trishas15. My Favorite Picture of You – Jerry Jeff Walker
Check out our YouTube videos: Worry B Gone Stuff that works
― dow, Tuesday, 31 January 2012 18:46 (1 year ago) Permalink
Track Seven: Willie Nelson nicely deflates the excess melodrama usually found in covers of "Waiting For Train" (yep, that moneyshot chorus), by taking the whole thing at a brisk, even business-like tempo, which actually makes it more affecting.
― dow, Tuesday, 31 January 2012 18:53 (1 year ago) Permalink
― dow, Wednesday, 1 February 2012 20:27 (1 year ago) Permalink
"Conflates myth and memoir"(and memory, even), yeah-h-h that's a good way of putting it--but worth checking out:press release, in case you can't tellMickey Newbury’s An American Trilogy was one of the most talked-about and lauded reissues of 2011 – a long-overdue affirmation for a songwriter and performer who has for years enjoyed cult acclaim, but belongs in the ranks of the American greats.Keeping the love alive in 2012, Saint Cecilia Knows and Drag City present a split-single that pairs Mickey Newbury’s recording of “Heaven Help the Child,” the title track of the most refined and under-appreciated album in Newbury’s trilogy––with a new version of the song by Bill Callahan that invokes the stately, elegiac spirit of the original while reworking its intricacies for his own unique voice and style. It will be released March 27th.Callahan has made no secret of his admiration for Mickey Newbury, even name-checking him (alongside George Jones, Kris Kristofferson and Johnny Cash, as part of a roll call of the most American of contemporary songwriter-performers) in the song, “America,” off his acclaimed 2011 album Apocalypse.“There’s something psychedelic and transcendent about Mickey's best work,” says Callahan, “and when he gets into the realms of songs like ‘Heaven Help The Child,’ where he spans generations and flies over time while still maintaining a singular mind, he's imparting a truly epic knowledge and vision. The song always reminded me of the movie Once Upon a Time in America.”A wildly-ambitious, cross-generational odyssey, written in 1971 against the backdrop of the waning days of the Vietnam War, “Heaven Help The Child” is the closest Newbury ever came to writing a pure protest song, albeit one that, in true Newbury style, breaks the mold and emotes heartfelt paens, seeking solutions rather than mere dissent.Allusive, elusive and emotionally direct, the song conflates myth and memoir until the two are inseparable and interchangeable. A reference in the lyrics to Fitzgerald and Hemingway draws on the idea that, for Newbury and his peers, Nashville of the ‘70s was like Paris in the ‘20s, a meeting place for writers in exile; outsiders working within the mainstream of culture, whose artistic concerns were too epic and personal to be constrained by it.“The point I was trying to make in that song,” said Newbury, “is that every generation thinks that its problems are unique where its problems really are as old as man. There are no new problems; there are only new faces having them.”Mickey Newbury often referred to “Heaven Help The Child” as his “second Trilogy,” the first being “An American Trilogy,” the song with which he is most closely-associated yet, paradoxically, did not write. But “Heaven Help the Child” is Newbury through and through: the work of a master songwriter at the height of his powers. Mickey Newbury online:You can also get a free four-track box sampler here: http://anamericantrilogy.com/splash also see http://www.mickeynewbury.com/ andhttp://www.dragcity.com/artists/mickey-newburyyou might wanta check his MySpace for a bunch of albums I've never heardhttp://www.myspace.com/mickeynewbury/music/albums
― dow, Friday, 3 February 2012 21:50 (1 year ago) Permalink
Listened to the Zach James album a few more times and still like it, despite its having the indie tendency to lay back without kicking up its heels. Zach's voice reminds me a bit of Jim Morrison's, actually. I wouldn't say Zach's like Morrison in his vocal demeanor, however. Or only a little bit, an occasional moment of being declamatory. But not into riding snakes and such.
― Frank Kogan, Friday, 3 February 2012 23:24 (1 year ago) Permalink
My two favorite 2012 "country" albums so far are by Elfin Saddle (cello-driven co-ed Anglo-style folkishness from Montreal with hints of goth and the Middle East but mostly of Fairport Convention) and Bryan Clark & the New Lyceum Players (guitar-chopsy full-band soft-rock that sometimes kinda rocks from Nashville via Texas with hints of jam band), and so far I'm getting more out of the new Drew Nelson (post-Earle/ Mellencamp recession folk-rock from Michigan with merely average singing) than the new Dierks Bentley. Like a few things okay on the latter (“Am I The Only One” left over from last year, “Diamonds Make Babies,” “The Woods,” the pretty Lady Antebellum style duet with Karen Fairchild) but I’m not hearing anything near the level of his best stuff. Not sure what, if anything, that says about country's current state. Should probably check out Tim McGraw’s album, one of these days.
― xhuxk, Saturday, 4 February 2012 00:45 (1 year ago) Permalink
Several Rolling Countrys back, xhuxk and I were briefly discussing Catholic country, trying to think of some examples. He may have come up with something, I haven't found the right thread yet, but anyway there's def some on Craig Finn's new solo album. No doubt about the Catholic part, the rest is if you consider Drive-by Truckers' sound and sensibility to be sufficiently country (I do, just didn't think Go-Go Boots had quite enough good cuts for Top Ten). Here's my Finn preview, which indicates my main interest wasn't the specifically Catholic aspect of his compassionate conservatism/low-rent empathy, but worth noting the theological in this year's RC. anyway, a fun listen overall, so far:“Dude with the long fingernails, I know he’ll be good to you/I seen him shave up at the library/And sleep behind the caribou.” On his solo debut, “Clear Heart Full Eyes”, The Hold Steady’s Craig Finn temporarily trades THS’s ornate neo-classic rock chariot for his Austin session group’s alone-together cowbell groove, a bracing back room echo of THS tourmates Drive-By Truckers. Finn’s currently touring combo of Austin stalwarts include the new album’s incisive, evocative regular and steel guitarist, Ricky Ray Jackson; RRJ's Happen-Ins colleague, drummer Falcon Valdez; the well-named Moonlight Towers' guitarist, James Stevens; and attentive, sportive bassist Alex Livingstone of Grand Champeen.
― dow, Monday, 6 February 2012 18:44 (1 year ago) Permalink
Probably won't make my Top Ten though.
― dow, Monday, 6 February 2012 19:07 (1 year ago) Permalink
Prob the latter.
― dow, Monday, 12 November 2012 20:24 (6 months ago) Permalink
"en though the overall effect is taut 'n' juicy, the songs aren't always up to the voice and instruments, or sometimes even vice versa" is otm, dow. On the strength of the two songs I mentioned I was ready to love Emotional Traffic. It's a rich, warm, beautiful sounding album. But he gets spongy.
― the little prince of inane false binary hype (Alfred, Lord Sotosyn), Monday, 12 November 2012 20:30 (6 months ago) Permalink
I dig about half of it so far, def for Singles lists anyway. Also like these guys I previewed; go see 'em:Shovels & RopeShovels & Rope are Americana singer/songwriter/multi-instrumentalists Cary Ann Hearst and Michael Trent, a committed couple who never settle down, or settle for less than true love and cheap thrills. 2012’s O Be Joyful tracks risky ramblers teaming up, learning the mixing and measuring of pleasures. Thrills-wise, when Hearst later calls, “Come down here and make some sense of it all,” she’s affectionately addressing someone known as Wrecking Ball. Appropriately so: after all, Hearst sent “Hell’s Bells” prowling through True Blood’s third season, and S&R’s sly, Southern Gothic beauty travels many a moonlit mile.
― dow, Friday, 16 November 2012 21:04 (6 months ago) Permalink
notes so far on this:Don Williams-And So It Goes: startlingly good sound on some tracks, even though mp3s, has to be this good with “Infinity”, for inst, and “I Just Come Here For The Music." Appeal of wistful thinking bobbing out on a tether to/from way things are on other tracks and in general, but prefer more a sense of struggle or something in songs and/or singing which responds to less desirable situations the way the best music here does. Still, seems good for late night or midday consolation breaks.
― dow, Saturday, 1 December 2012 21:19 (5 months ago) Permalink
Really like the strings pivoting around his trademark toetapping groove, and gets to the "Tula Time" groove at times in contexts quite diff from that song, yet appropriately so.
― dow, Saturday, 1 December 2012 21:23 (5 months ago) Permalink
"Tulsa Time", that is.
Todd Snider, Agnostic Hymns and Stoner Fables. Known for his words, and yep music is setting for same, but I like 'em best when his voice unobtrusively and perfectly sets them down, teeth matched to gums, or upper and lower plates. Sharp enough, sometimes rounded, down in the gums or the plates and the meat of the matter, the details move into the overall effect. Better when he gets through the teaching moments and the passing suits, up above, down to the ground, where he might be a doorman, a cabbie, an ambulance driver, night court reporter--observing charred and certified White Trash and even a power couple (in "Brenda", which might be about Bill and Hilary, the renters of the lock just checked, and does incl their usual pursuits:"He's livin it up while she's workin, and that seems right/After all, Mick Jagger was born on Monday mornin'/Keith Richard on Saturday night")--when he's not "In Between Jobs" and back and forth from fear to distraction (like the primeval tribe in the first track), while 'llowing, "Ah may've been born yesterday, but I was up all night." His people are funny that way, incl when stubbornly creeping at their own chosen speed up and down tunnels and barrels they should be long gone from, given the means of course. That's the sound, which also usually includes a bluesy fiddle over a heavy flexible mobile rhythm section, which always includes a heavy etc. electric guitar (suggesting a door taken down and set on the kind of wheels that should be on an office chair, a door with a screen and bars too, a Southern thing). Rec to those jonesing for the next Truckers album, at least (if Cooley and Hood, in that order, were to merge, vocally and writing-wise, with Cooley's guitar central to and more prominent in the mix). What am I saying? Forget that, we got this. Imperfect, but it sure builds. Now I'm getting confused about my Scene Top Ten, oh well.
― dow, Wednesday, 5 December 2012 04:07 (5 months ago) Permalink
"funny that way" incl sometimes in the head and/or hands (easy now podner)
― dow, Wednesday, 5 December 2012 04:10 (5 months ago) Permalink
I don't think we've talked much about Korean country music - there not being much Korean country music to talk about. Han Myeong Suk's "The Boy In The Yellow Shirt" (1961) uses a self-consciously old-timey string band arrangement, though with a more aggressive '60s rhythm. Melody and singing are - I don't know - old bluesy country mixed with (I really don't know) trad Korean? pop Hawaiian? G'Old Korea Vinyl, the site that streams it, tells us that the lyrics "were pretty badass at that time" - doesn't quote much less translate them, unfortunately. Site says that the song was a hit in Japan too and other parts of Asia, and according to Wikip there was a French cover version by Yvette Giraud, YouTube being no aid to further research. Is terrific enough in the original.
Searching "country music in korea" on Google nets me Bobbyville, a side project of Seoul indie performer Bobby Chung, who says he models it on the Bakersfield sound; and Kim Tae-hun and his band Sunday Losers, who veer towards rockabilly and blues and are from the Busan indie scene. There's also a trot song by Moon Hee Ok that's labeled by the uploader as Korean country music, but isn't unless you consider trot the Korean equivalent to American country, which it's not.
There's perhaps a Korean yodeling scene that seems to go for yodel per se rather than the country variety, but it includes someone identified by the uploader as "Korea Young&Beautiful Yodelgirl" who wants to learn to rope and ride, someone doing "La Desperadado," and a fellow billing himself as Peter The Korean Yodeler who made his way to the Le Mars Country Festival in Iowa a few years ago.
― Frank Kogan, Friday, 7 December 2012 17:06 (5 months ago) Permalink
Thanks--wish Subliminal Sounds or Sublime Frequencies would do a comp along these lines. Always good to check hearty voyagers having a go at familiar-to-seemingly-played-out styles.
― dow, Friday, 7 December 2012 17:47 (5 months ago) Permalink
Hopefully Psy will go country, Gangnam Style.
― dow, Friday, 7 December 2012 17:48 (5 months ago) Permalink
can't believe I love the generic crap of the Clarkson-Gill duet as much as I do.
― the little prince of inane false binary hype (Alfred, Lord Sotosyn), Friday, 7 December 2012 17:51 (5 months ago) Permalink
Is my favorite Clarkson single since "Never Again." And for being generic, it straddles genres nicely (country and AC).
― Frank Kogan, Friday, 7 December 2012 17:57 (5 months ago) Permalink
reminds me how much I love Gill's harmonies
― the little prince of inane false binary hype (Alfred, Lord Sotosyn), Friday, 7 December 2012 17:58 (5 months ago) Permalink
He was good in Emmylou's band too. I like him better in duets than solo, mostly.
― dow, Friday, 7 December 2012 18:03 (5 months ago) Permalink
A very provisional top twenty, or top twenty-one if I decide to classify Taylor Swift's "Red" as a single; if I do, it's number 1 - was one of a bunch of download-only singles Big Machine put out in the days before the album to drum up excitement. The label had previously done the same with "You Belong With Me" in 2008 and "Mean" in 2010, only to give each of them a more emphatic release in the year that followed, meaning I had to vote for them two consecutive years. So my inclination this time is to disqualify "Red" for insufficient singleness; I've got plenty others to list, anyway. I <i>am</i> counting Tim McGraw's "The One That Got Away," which was never a single except that it charted a bit (and of course by that criterion "Red" is undoubtedly a single, but, you know, list making is more an art than a science).
I'd rank "Blown Away" even higher if its words were in Korean.
[Taylor Swift "Red"]1. Miranda Lambert "Fastest Girl In Town"2. Charles Esten & Hayden Panettiere "Undermine"3. Eden's Edge "Too Good To Be True"4. Eric Church "Creepin'"5. Lionel Richie ft. Jennifer Nettles "Hello"6. Kix Brooks ft. Joe Walsh "New To This Town"7. Luke Bryan "Kiss Tomorrow Goodbye"8. Carrie Underwood "Blown Away"9. Kacey Musgraves "Merry Go Round"10. Kelly Clarkson ft. Vince Gill "Don't Rush"11. Thomas Rhett "Something To Do With My Hands"12. Tim McGraw "The One That Got Away"13. Easton Corbin "Lovin' You Is Fun"14. Toby Keith "Beers Ago"15. Willie Nelson "Just Breathe"16. Gary Allan "Every Storm Runs Out Of Rain"17. Greg Bates "Did It For The Girl"18. Kristen Kelly "Ex Old Man"19. Alan Jackson "So You Don't Have To Love Me Anymore"20. Jason Aldean "Fly Over States"
― Frank Kogan, Friday, 7 December 2012 22:00 (5 months ago) Permalink
oh yeah, lots of good 'uns on there, and ones I still need to check out. Also, the fine "Undermine" reminds me to check out the rest of Nashville-the-TV-series' soundtrack album.
― dow, Friday, 7 December 2012 23:02 (5 months ago) Permalink
Gary Allan's on there--does he have a new album? Anybody heard it?
― dow, Friday, 7 December 2012 23:03 (5 months ago) Permalink
Hey guys, sorry if this is a breach of decorum for this thread -- I'm not really up on mainstream country music or the opinions of ILX country thread regulars -- but can any of y'all recommend some new-ish traditionalist country music? No blues-rock riffs, no tom-tom fills, no redneck-pandering I-like-beer-and-jeans lyrics. I'd like to be able to listen to some new country music while simultaneously being able to pretend Brooks & Dunn never existed. Thanks in advance & no offense meant.
― she was giving it to two friends ...Aaay! (crüt), Saturday, 8 December 2012 00:53 (5 months ago) Permalink
You might like current James Hand, Don Williams, Jamey Johnson's Hank Cochran tribute, all discussed upthread. Ditto those Merle and George Jones rarities collections, if you're into vinyl.
― dow, Saturday, 8 December 2012 01:00 (5 months ago) Permalink
You might like the new Dwight Yoakam record a lot too. It's hardly straight country - there are a bunch of left-field-ish pop-rock moves on it, but they're all derived from '60s rock, not present-day rock, so give it a shot.
― 誤訳侮辱, Saturday, 8 December 2012 04:25 (5 months ago) Permalink
― she was giving it to two friends ...Aaay! (crüt), Saturday, 8 December 2012 05:22 (5 months ago) Permalink
Don, "Undermine" is written by Trent Dobbs and Kacey Musgraves and is going to be on Musgraves' debut album. Acoustic version here.
I was bored by Panettiere as a teenybopper, but she's ace on this song.
― Frank Kogan, Saturday, 8 December 2012 14:59 (5 months ago) Permalink
Gary Allan alb (Set You Free) not out till next year. My guess is that crüt would like Allan even if he doesn't specifically meet the criteria - like Yoakam he's got rock tendencies and dallied with L.A. punk in his distant past, but he's not part of the current we-are-country pander and insecurity (instead he's got his own insecurities), and he's a beautiful singer.
Don't think there was ever a time in the history of sound recording when country didn't have blues riffs, though.
― Frank Kogan, Saturday, 8 December 2012 15:12 (5 months ago) Permalink
Thanks for the link; also, yeah, Hayden and all the other TV series regulars' musical moments (always key plot points) have been pretty effective so far. Dunno if they're doing all their own singing, but good stuff. "Blues-rock" riffs are what crut's trying to avoid. Good to know about new Gary.
― dow, Saturday, 8 December 2012 15:37 (5 months ago) Permalink
Following those xpost 10" records:
Omnivore Recordings will release definitive compilations by three giants of country and rockabilly music — Wanda Jackson, Merle Haggard and George Jones — on February 12, 2013. Having released musical appetizers in the form of ten-inch vinyl EPs on Record Store Day’s Back to Black Friday, Omnivore will serve the main course on compact disc in the form of Merle Haggard’s The Complete ’60s Capitol Singles, George Jones’ The Complete United Artists Solo Singles, and Wanda Jackson’s The Best of the Classic Capitol Singles. All three compilations feature A & B sides from the artists’ most influential years. The vinyl EPs were companion pieces, containing rarities not found on the CDs. Wanda Jackson’s The Best of the Classic Capitol Singles contains 29 songs from her Capitol stint, which began in 1956. Each was taken from the original analog mono 45-rpm masters. Idolized by three generations of rockers, the Queen of Rockabilly made musical side-trips into country and gospel. For every A-side rave-up like “Mean Mean Man” or “Fujiyama Mama,” she offers B sides of equal intrigue: a weeper like “(Every Time They Play) Our Song” or the hillbilly tragedy of “No Wedding Bells for Joe.” She tore through songs that Elvis sang, and also drew from the jazz greats, R&B legends, doo-woppers and the Nashville hit machine. And she made each song her own. In the ’50s, Capitol Records ad men scratched their heads, looking for a way to position Wanda Jackson’s sound, gamely settling on “jumping rock ’n’ waltz novelty.” Today, as she plays before indie-rock-aged crowds, supporting recent albums produced by Jack White and Justin Townes Earle, we know she’s no novelty. The Best of the Classic Capitol Singles, with extensive liner notes by Daniel Cooper, is her most definitive career retrospective to date. Jackson’s Capitol label-mate Merle Haggard became one of country music’s greatest stars while recording his Bakersfield-honed songs at the tower at Hollywood & Vine from 1965 until 1976. The Omnivore compilation The Complete ’60s Capitol Singles features 28 A & B sides taken from the original analog mono 45-rpm masters. Neo-rockabilly artist and part-time journalist Deke Dickerson, a longtime Haggard fan, wrote the liner notes. From “Swinging Doors” in 1965 until the end of the decade, Haggard had an impressive string of hits. “The Fugitive” (b/w “Someone Told My Story”), his first #1 single, was a composition by the esteemed songwriter Liz Anderson (Lynn Anderson’s mother). “I Threw Away the Rose” b/w “Loneliness Is Eating Me Alive” went to #2 on the charts in 1966. Other chart-toppers on this volume include “You Don’t Have Very Far To Go” b/w “Good Times” and “The Legend of Bonnie & Clyde” b/w “I Started Loving You Again.” “Working Man Blues,” written when Haggard “needed (his) own ‘Folsom Prison Blues,’” became a blue-collar anthem and shot to #1. The collection closes with “Okie From Muskogee,” the unlikely political pop crossover that sent mixed signals to younger listeners. Most have since delved deeper into Haggard’s five decades of music and consider him a hero. He continues to record today. United Artists Records was eventually married to Capitol when it, along with parent label Liberty, was acquired by EMI in 1978. But when country star George Jones recorded for the label (following stints at Starday and Mercury) from 1962 til 1966, United Artists and Capitol were Hollywood crosstown rivals. It was at UA that Jones mastered all the flavors of country: lovelorn ballads, inspirational gospel, uptempo honky tonk, humorous novelty numbers, old-timey murder ballads — even holiday and Western songs. Most of his UA work was done in Nashville featuring the city’s A team: guitarist Grady Martin, pianist Hargus “Pig” Robbins, bassist Bob Moore, drummer Buddy Harman and Hal Rugg on pedal steel. The Jordanaires provided background vocals. Omnivore’s 32-song George Jones compilation, The Complete United Artist Solo Singles, leads off with chart toppers “She Thinks I Still Care” b/w “Sometimes You Just Can’t Win,” produced by the legendary Cowboy Jack Clement. Both sides of the single pointed the way to the sound that would mark his signature style in decades to follow. The collection also includes Jones’ 1965 smash “The Race Is On.” “Country music is like a religion to me,” he told Holly George-Warren, author of this compilation’s liner notes. Jones’ early ’60s work for United Artists will make a believer out of you. About Omnivore Recordings:Founded in 2010 by longtime, highly respected industry veterans Cheryl Pawelski, Greg Allen, Dutch Cramblitt, and Brad Rosenberger, Omnivore Recordings preserves the legacies and music created by historical, heritage, and catalog artists while also releasing previously unissued, newly found “lost” recordings and making them available for music-loving audiences to discover. Omnivore Recordings is distributed by EMI.
― dow, Tuesday, 11 December 2012 18:45 (5 months ago) Permalink
Looks promising, re going further in direction of Emotional Traffic:TIM MCGRAW REVEALS MORE DETAILS ABOUT HIS UPCOMING ALBUM RELEASE TWO LANES OF FREEDOM – IN STORES FEB 5, 2013 Debut Big Machine Records Disc To Include Standard & An Accelerated Deluxe Version At Most Retail Accounts Nashville, TN- Dec. 13, 2012- Country music icon Tim McGraw is revealing more details about his highly anticipated release TWO LANES OF FREEDOM. His first album for Big Machine Records will be released on Feb. 5, 2013 and is set to prove once again that on stage and on record, he remains dedicated to delivering music that is innovative, heartfelt and authentic. "I feel like I've progressed in my work, and I've always strived to get better," says McGraw. "On my last album, I was discovering some new sounds and new things that I wanted to do, scratching the surface of the direction I wanted to head. This album was a way to reach a little further back, to all that I'd done throughout my career, and bring both sides together—it's a combination of that discovery, along with some rediscovery." On TWO LANES OF FREEDOM, the sense of nostalgia comes through on the hard-driving current single "One of Those Nights." The reverie of that song, though, is countered by the humor and joy of "Southern Girl" or the feel-good hangover of "Mexicoma." McGraw maintains that it was the album's title track that really established the tone for the entire project. "When we cut 'Two Lanes of Freedom,' there was such a freshness to it," he says. "The track has this sort of Gaelic drive to it and really sets a palette for the whole record because it's so visual—it has that summery, hazy image and I think that made the whole record open up for me." McGraw reaches some especially emotional depth in his performances on such songs as "Number 37405," the lament of a singer-turned-convict. Most powerful of all might be "Book of John," a wistful account of a family going through the journal left behind by its late patriarch. The album closes with "Highway Don't Care," a breezy yet complex track that features Taylor Swift (the song is featured as number 13 on the album as a nod to her) and Keith Urban. TWO LANES OF FREEDOM TRACK LIST1. Two Lanes of Freedom (Jaren Johnston/Jenn Schott)
2. One Of Those Nights (Luke Laird/Rodney Clawson/Chris Tompkins)
3. Friend Of A Friend (Mark Irwin/Josh Kear/Andrew Dorff)
4. Southern Girl (Jaren Johnston/Lee Miller/Rodney Clawson)
5. Truck Yeah (Chris Janson/Danny Myrick/Preston Brust/Chris Lucas)
6. Nashville Without You (Kyle Jacobs/Joe Leathers/Ruston Kelly)
7. Book of John (Jon Nite/Greg Becker)
8. Mexicoma (James Slater/Brad Warren/Brett Warren)
9. Number 37405 (Tom Douglas/Troy Jones)10. It’s Your World (Scott Stepakoff/Josh Osborne/Shane McAnally)13. Highway Don’t Care (featuring Taylor Swift and Keith Urban) (Mark Irwin/Josh Kear/Brad Warren/Brett Warren) ACCELERATED DELUXE VERSION INCLUDESAnnie I Owe You A Dance(James Slater/ Tom Douglas) Tinted Windows(Mark Irwin, Josh Kear, Andrew Dorff) Let Me Love It Out Of You(Rachel Thibodeau, Jason Sever, David Tolliver) Truck Yeah LIVE In his record-shattering career, McGraw has sold over 40 million albums and dominated the charts with 32 No. one singles. Since the release of his debut album in 1993, he has won three GRAMMY’s, 14 ACM Awards, 12 CMA Awards, and 10 AMA’s, while simultaneously maintaining a parallel career as a successful actor in such films as The Blind Side, Country Strong, and Friday Night Lights—as well as hosting Saturday Night Live, a rare honor for a singer in any genre. Nielsen-BDS recently certified McGraw as the most-played Country artist of the past 20 years (1992-2012) with more than 10 million spins detected and Mediabase recognized him as the most-played Country artist in the history of their tracking service. For more updates and the latest information, visit www.timmcgraw.com or follow @thetimmcgraw on twitter.
― dow, Thursday, 13 December 2012 18:45 (5 months ago) Permalink
Sir Charles Jones "Country Boy" is not a country song per se, but rural Southern soul that I think y'all would like. I think you can find it on Youtube and maybe Spotify
― curmudgeon, Friday, 14 December 2012 21:05 (5 months ago) Permalink
Yeah this is true; I guess I phrased my request wrong -- I'm just trying to avoid riff-based rock that masquerades as country, stuff with a heavy rhythm section. I do dig this Dwight Yoakam record even though a lot of it hinges on that sort of thing, but I've always had a soft spot for Dwight. "A Heart Like Mine" and "Missing Heart" are probably the closest to what I'm looking for.
― she was giving it to two friends ...Aaay! (crüt), Monday, 17 December 2012 19:58 (5 months ago) Permalink
"Heart Like Mine" definitely rocks out but it's mixed tastefully.
― she was giving it to two friends ...Aaay! (crüt), Monday, 17 December 2012 20:01 (5 months ago) Permalink
but, crüt, when hasn't country used riffs and heavy rhythm sections?
― the little prince of inane false binary hype (Alfred, Lord Sotosyn), Monday, 17 December 2012 20:06 (5 months ago) Permalink
man, I'm just trying to find country music that doesn't sound like Tom Petty or "Rock My World Little Country Girl." I think there is plenty of country music out there that fits into this category.
― she was giving it to two friends ...Aaay! (crüt), Monday, 17 December 2012 20:10 (5 months ago) Permalink
i generally only lurk on this thread but hey i did a list of best and worst country singles of the year: http://narrowcast.blogspot.com/2012/12/the-20-best-country-radio-hits-of-2012.html
― some dude, Monday, 17 December 2012 20:13 (5 months ago) Permalink
I mean I love a lot of country-rock and Texas boogie kinda stuff! I just need an antidote for Luke Bryan.
― she was giving it to two friends ...Aaay! (crüt), Monday, 17 December 2012 20:14 (5 months ago) Permalink
it's all good – my bad
― the little prince of inane false binary hype (Alfred, Lord Sotosyn), Monday, 17 December 2012 20:15 (5 months ago) Permalink
― she was giving it to two friends ...Aaay! (crüt), Monday, 17 December 2012 20:17 (5 months ago) Permalink
free of its parent album, the Alan Jackson song sounds terrific.
― the little prince of inane false binary hype (Alfred, Lord Sotosyn), Monday, 17 December 2012 20:18 (5 months ago) Permalink
doesn't it, though?
― some dude, Monday, 17 December 2012 20:20 (5 months ago) Permalink
ha – we really disagree over "5-1-5-0."
― the little prince of inane false binary hype (Alfred, Lord Sotosyn), Monday, 17 December 2012 20:21 (5 months ago) Permalink
Jackson's like that (I've had "Everything I Own" in my iPod since July and when it comes on shuffle I don't dare skip it). Drive and Like Red On a Rose are the only two studios that don't bore me.
― the little prince of inane false binary hype (Alfred, Lord Sotosyn), Monday, 17 December 2012 20:24 (5 months ago) Permalink
*Everything I LOVE
Just filed my Nashville Scene ballot a couple hours ago. Three of somedude's 20 favorite country singles of the year made my singles ballot; none of his least favorite singles did, though a couple were definitely in the running, and I voted for the EP containing another one (which I actually like a lot.) Never heard Kristen Kelly's "Ex Old Man" until this morning (finally listened to it since Frank had recommended it above); didn't make my ballot, but I the OMC "How Bizarre" thing jumped out at me right away, a couple hours before I saw somedude mention it.
I'm kind of ambivalent about "5-1-5-0." Sort of like it okay, but it sort of it annoys me (just like the album it's on, come to think of it.)
― xhuxk, Monday, 17 December 2012 20:25 (5 months ago) Permalink
i'm not gonna defend my dislike of "5-1-5-0" too strongly, it was just on the radio all the time and i never wanted to hear it
― some dude, Monday, 17 December 2012 20:25 (5 months ago) Permalink
otoh Kenny Chesney can fuck right off
― the little prince of inane false binary hype (Alfred, Lord Sotosyn), Monday, 17 December 2012 20:27 (5 months ago) Permalink
― some dude, Monday, 17 December 2012 20:28 (5 months ago) Permalink
I'm wondering if he's got genuine talent: the guy has made vanilla blandness offensive.
― the little prince of inane false binary hype (Alfred, Lord Sotosyn), Monday, 17 December 2012 20:29 (5 months ago) Permalink
Then again, he's also made a few pretty great albums (though not this year).
― xhuxk, Monday, 17 December 2012 20:39 (5 months ago) Permalink
Wikip takes me to an article in the New Zealand Herald on whether "Ex Old Man" had permission to use the riff from "How Bizarre." Answer: the person who wrote the article doesn't know whether there was permission or not.
(The world's full of similar and lifted riffs, and it's not like this is gross plagiarism or "Ex Old Man" is built around the riff.)
― Frank Kogan, Tuesday, 18 December 2012 14:38 (5 months ago) Permalink
"The world's full of similar... riffs"
--I mean riffs that are similar to each other, not that the world is full of riff's similar to "How Bizarre."
― Frank Kogan, Tuesday, 18 December 2012 18:47 (5 months ago) Permalink
jeez that jackson tune is great, missed it
― bear, bear, bear, Monday, 31 December 2012 01:34 (4 months ago) Permalink