Big & Rich: Album of the Decade?

On Tuesday, September 28th at 10PM, MuzikMafia, Bluesboro Nashville and We Funk Entertainment are pleased to present 420 Funk Mob featuring members of Parliament Funkadelic, MuzikMafia, and special guest George Clinton at the Bluesboro in Nashville, TN.

Over the last year, the two families have been flirting with the idea of coming together to create an explosion of muzik without prejudice. Due to the cancellation of the House of Blues Orlando engagement caused by Hurricane Jeanne, we are able to offer this last minute treat for Nashville. This is a rare opportunity to see all of this great talent and muzik under one roof, up close and personal. Entrance will be limited to 600. In the spirit of the MuzikMafia, this celebration of musical unity is brought to you free of charge.

The 420 Funk Mob, led by Mike "Clip" Payne featu ring Gabe Gonzalez along with a revolving cast from the legendary Parliament/Funkadelic and All-Star musicians, assaults a crowd with a night of music that crosses all boundaries. This is just what you expect from a band with a line up that has included: Funks George Clinton, Mike "Maggot Brain" Hampton, Garry "Star Child" Shider, and Billy Bass Nelson, Punks Dr. Know and Daryl Jennifer, Greg Fitz from Bootsy's Rubber Band, and Bowie's Zach Alford, as well as Jazz-man Stanley Jordan and bluegrass sensation Eric McFadden.

The purpose of the MuzikMafia is to advance the acceleration of greatness in music by combining creative peoples in a loving, non-territorial, celebratory environment of total respect and acceptance, regardless of genre or format of musical style. Simply, we get together, play music, make art and have fun without limits.

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Is genre-crossing all it takes to become the album of the year these days?

And didn't Kid Rock kind of do this already?

Yes he did. But Kid Rock is getting very hard to defend, because a lot of groups (Big and Rich especially) are doing what Kid Rock tried to do, except a billion times better.

That's Big Kenny and John Rich, with rappin' sidekick Cowboy Troy, who's black, which of course, is treated as a huge novelty. Billed as "country without prejudice" - in other words, country that recognises that other genres actually exist - this monumentally straightforward record's claims to innovation are like asking a woman to be wildly appreciative that her husband just about manages to cook a fry-up once a month. Horse of a Different Color sounds like Billy Ray Cyrus driving a juggernaut - that's how innovative it is. If you squint really hard you might just be able to convince yourself there's something faintly homoerotic about the whole ghastly enterprise, but that's pushing it. Actually, peek inside the booklet and you will find Kenny and John wearing Wild West-style dresses and, natch, ironic expressions. Like the Bush twins at the MTV awards, this is arch-conservatism in a half-hearted search for cool. Big? Almost certainly and hence, quite probably, rich too. Not, by any means, clever.

FIVE STARS

Fatbelly Jones. Marcello...well, there's nothing to say here.

I sent for a copy of the Big and Rich album and have listened to it.

Having done so, I agree with Mr Peschek's conclusions.

Like I said, it's okay to dislike the record. But you cannot "agree with Mr Peschek's conclusions," because he does not actually conclude anything. He just takes some cheap shots, ha ha wot a larf. It's adorable, just the kind of thing I need to confirm my favorite Guardian stereotypes, but it's not a review. I'd love it if you'd care to review the record, Mr. Carlin, because I know you'd back up your dislike with actual evidence so I could try to understand it.

It isn't even my favorite country record of the year, but it's NOT the Bush twins either.

I do admit, however, that the website design and colour schemes could lead to ambiguity.

So the solution is for the Guardian Unlimited webmasters to redesign their graphics accordingly such that a zero-star rating can be interpreted as such, rather than a five-star rating.

I plan to return to considering this record on my blog, my arguments supported by quantifiable fact, in due course.

So if we put Pastor Troy in a sealed container with a vial of poison gas...

...and yet, I'll read it. I'm curious about Fatbelly Jones, I guess.

best definition of rockism evah.

There's so much more homoerotica in Montgomery Gentry than Big and Rich, even though I wouldn't put it past the latter to kiss onstage. And Brooks and Dunn are the homoeroticest of all.

So, y'know, whatever.

holy fucking shit. that explains a LOT.

I say gorgeous WAY too often, Matt (especially when talking about dark metal and stuff like that) - where the heck have you been? "Wild West Show" is gorgeous like Ennio Morricone is gorgeous. Dark, too!

(PS: btw, Matt, are you gonna rewrite Bersuit or not? I need it now!! I asked you in an email a couple days ago, but I never heard back....)

I sometimes wonder if one's judgment of musical "gorgeous" has anything to do with one's aesthetic senses about women/men, visual art, etc. then of course I have a beer and put on some gilberto gil and suddenly my head stops hurting, because his stuff from the late 1960s/early 1970s is the fucking epitome of dark and gorgeous to me.

yeah chuck I'm writing it tonight, I never got your email!!!