Jack Edwards Country

"This Just In....Taylor Swift Is A Nine Point Favorite to Win The Super Bowl..."

2010-01-31T04:21:00.000-08:00

It's Grammy Sunday.

So I'm sure you, like me, are thinking just one name.

Benjamin Franklin.

Uh...what?

It was Ben who said " "but in the world nothing can be said to be certain except death and taxes."

Two things certain.

Actually, there's a third.

"And the winner is...

...Taylor Swift...".

SPOILER ALERT: I'm about to commit a little blasphemy.

But, first, a little prologue.

The rise and success of Taylor Swift has, by any conventional measure, been phenomenal.

And it can be said with reasonable certainty, I think, that by that same measure, Taylor Swift, herself, is a phenomenon.

Webster's defines "phenomenal" as "...extremely unusual; extraordinary; highly remarkable..."

Again, when applied to Taylor Swift, I'd offer those are valid descriptions.

But this is where things get a little tricky.

And the aforementioned, forewarned blasphemy comes into play.

And print.

I remember reading, once, someone's pointed observation about another old saying.

"Things always happen for a reason."

"Yes," the observer observed pointedly, "but notice the saying says nothing about it necessarily being a good reason."

Which brings us back to the definintion of phenomenal.

And a checklist of application as regards the ubiquitous Ms. Swift and her career accomplishments.

Extremely unusual?

Check.

Extraordinary?

Check.

Highly remarkable?

Check.

But, to paraphrase an observation, "notice it says nothing about the phenomenon necessarily being any good...".

In a literal sense, applying the three criteria necessary in the definition, Gilbert Gottfried's voice is phenomenal.

But I doubt any of us are going to enjoy hearing it ad nauseum.

Nor are we going to give him every award known to man.

Nor are we going to rush out to buy his latest recordings, greeting cards, play hookey from work to be first in line if he appears in a movie or live in gleeful anticipation of any future guest shot he might do on any or all "C.S.I" episode.

Here's the thing.

I agree that the success of Taylor Swift is a phenomenon and, in a certain context, applaud her accomplishments.

My personal take on it, though, is that the phenomenon is not the talent.

But the phenomenon itself.

Taylor Swift seems like a pretty nice kid with a reasonably nice sing songy voice who uses a few basic guitar chords to write and sing reasonably nice songs about the travails and tribulations of growing up teenage in this age.

You go, girl.

But I can't help but be fascinated by the fact that you can't turn on a TV or a radio or walk through a music store or walk by a magazine rack or watch an awards show without hearing about or seeing the image and/or sound of a pretty nice kid with a reasonably nice sing songy voice who uses a few basic guitar chords to write and sing reasonably nice songs about the travails and tribulations of growing up teenage in this age.

It's...amazing.

No, actually....

It's phenomenal.

"..Who Is It Who's REALLY Not Ready To Make Nice...?"

2010-01-16T07:00:00.000-08:00

For years, I've suspected that, underneath it all, country music wants to have it both ways.

Standing up proud, and sometimes, loud for basic and essential down home, small town, mama/papa/family focused middle American values.

Not the least of which is...freedom.

While, at the same time, not being totally averse to a little controversy if it helps folks pick up a CD and find their way to the cash register.

Because, after all, whether it's the pop music business or the country music business, the common thread is the word "business".

I can't testify to it in court, but I'd be willing to bet that record label marketing meetings on 16th Avenue don't usually sound like this...

"We've asked the singer to drop that song from the CD because of that lyric about the black dress hitting the floor...that's not the kind of song down home/small town country fans want to hear..."

Lately, the envelope of sexual reference in country music seems to be getting a new push if what Chris Young and Luke Bryan, among others, are up to.

And the chart success of these, and other, folks testifies that the "country music audience" seems ready to embrace the naughty along with the nice.

This just in...sex finds its way into country music...film at 11.

One down, two to go.

But don't count on the trifecta.

Because I'm pretty confident that it will be at least a generation or two before the other two taboos find any open ears on Mama and Daddy's Ipod.

Religion. Politics.

Not counting, of course, any songs/music of praise and/or songs that boil the process politic down to putting a boot in the ass of any foreign threat to our way of life.

And, speaking of Toby Keith....

The Dixie Chicks are in the news.

Emily Robison and Martie Maguire of the Dixie Chicks have recorded an album under the name Court Yard Hounds, according to Rolling Stone. The band name is a reference to the novel, City of Thieves. Recorded largely at Maguire's home studio in Austin, Texas, the album is scheduled for May and will feature Robison on lead vocals for the first time, with an appearance from the Wallflowers' Jakob Dylan. The sisters will also perform as a duo at the South by Southwest music conference in Austin in March. As previously reported, Dixie Chicks lead singer Natalie Maines will not appear on the album, but Robison and Maguire emphasized to Rolling Stone that the Chicks have not formally parted ways.

This news pretty much puts to rest the discussion that fired up this week about whether The Dixie Chicks without Natalie can be considered The Dixie Chicks.

Unasked, I offer my opinion.

Uh, no.

The Dixie Chicks without Natalie are Sugarland without Jennifer, Lady Antebellum without Hillary, Brooks and Dunn without....

You get the idea.

Oh and as far as the whole "controversy" that sent The Dixie Chicks down the rabbit hole a few years back?

I get my political perspective from CNN, MSNBC, FOX and a variety of blog/newspaper, etc sources.

Not to mention my own personal processing and interpretation of political events.

I don't really care what Natalie Maines thinks about the political landscape.

At the same time, I'm not really interested in hearing Rush Limbaugh break into a chorus of "Wide Open Spaces."

Either way, though, the whole business of banning music from the airwaves because of a performer's opinions is, at best, silly and at worst...

Contrary to that most prized down home, small town, mama/papa/family focused middle American value.

Freedom.

"And I Heard Her Exclaim, As She Walked Out Of Sight...MAN! I Feel Like A WOMAN!..."

2010-01-02T04:40:00.000-08:00

New year, new decade.

Inevitably a time of looking back.

I was doing that just this morning.

And wondering whatever became of Shania...

Despite bitterly cold, windy weather, Shania Twain carried the Olympic torch through her Canadian hometown of Timmins, Ontario, and into a celebration at a city park. Enduring the minus-30-degree wind-chill factor, more than 1,000 fans cheered and screamed as the five-time Grammy winner, 44, ran onto a makeshift stage wearing a white torchbearer's uniform.

After stopping for a quick photo op, Twain jumped up and down, smiled, waved and lit a ceremonial cauldron to kick off a show.

"There is a lot of excitement surrounding the voyage of the Olympic flame as it makes its way through our beautiful country," the Canadian-born Twain said before the chilly spectacle. "I am proud to be a small part of the flame's journey to its final destination at the games in Vancouver" – where the Olympics will commence Feb. 12. "I will never forget this honor and cherish the privilege," she said.

For a period of time in my misspent youth, I was not just a fan, but, I daresay, a champion of Shania Twain.

When her CD "The Woman In Me" arrived on my desk, I went out of my way to make some calls to industry friends and hip them to what I heard as a very fresh, very unique (at the time) mixture of great country, pop, blues, jazz, etc. I even called a pal at Mercury Records and told him that I thought they should get behind her in a major way.

The rest is history and while I don't, for a second, have any illusions about having had any effect on her success, I know that she and the label gang were sufficiently appreciatve of my efforts that they arranged a little surprise "thank you" meet and greet with Shania at the Mercury office in Nashville.

Hey, I've got the autographed pic and platinum CD framed on my office wall to prove it.

Shania was very pleasant and very gracious.

And I remained, and remain for that matter, a fan of Shania.

Truth be told, though, I don't really care much for SHANIA!

I like performers.

I don't care much for STARS!

Between globe trotting between her luxury homes in Switzerland and the U.S. and vacationing in the Carribbean and Europe, et al, and assuring everyone who visits her website that she is holding up bravely from her divorce from Mutt Lange and subsequent romance with the guy whose wife left him to take up with Mutt Lange, causing Shania to dump Mutt and take up with the guy whose wife dumped him to take up with Mutt, Shania doesn't do a lot of performing these days.

SHANIA! pops up from time to time, though.

Mostly, in interviews for US and People poignantly sharing with all of her many fans around the world that she is holding up bravely from her divorce...yada, yada, yada.

And, of course, photo ops that any celebrity with a savvy press agent would never pass up.

Like carrying the OLYMPIC TORCH!

And then heading back to Switzerland to bravely hold up.

Safe travels, SHANIA!

Tell Shania I said hello and happy new year...

"What Goes Around...."

2009-12-29T07:25:00.000-08:00

Three days left.

2009 is about to become history.

And while I've made no secret of the fact that I'm not the "make resolutions" type, I've decided, in the spirit of the season, to make a vow, of sorts.

Come midnight, December 31, I'm all through picking on George Jones.

Although it really didn't get a lot of mainstream buzz this past year, I think one of the more interesting stories to come out of the country music world was the interview George gave in which he pretty much told "new" country singers like Carrie Underwood and Taylor Swift and Keith Urban that they were interlopers, not "real" country singers and they needed to put Nashville in their rear view mirrors.

I thought it interesting for a couple of reasons.

First, George is just an interesting guy.

Second, that "cranky" stuff reminds me of my paternal grandfather.

But, third, and most telling, I think George was really putting a face and a voice on an attitude that sort of bubbles under with a lot of country music fans and/or performers.

In other words, he ain't alone in feeling that way.

I wrote an earlier piece here about the amusing irony of George Jones dissing "pop" music in the year 2009 when one of his first, now iconic, hits, "White Lightnin" was written by J.P. Richardson, the "Big Bopper" of "Chantilly Lace" fame.

I haven't changed my mind about what I said then. What I have come across, though, while doing some research for something else was this "moment in history" thing about the evolution of country music.

The "Nashville Sound," defined by its string arrangements and grand ballads, reached its heyday in the 1950s and 60s. The RCA and Columbia Records staffs, which included Chet Atkins, is credited with its creation. Country stars like Jim Reeves, Ray Price and Eddy Arnold were icons of the genre.

Jim Reeves is credited with recording the first song recognized for having the Nashville Sound. "Four Walls" was a number-one hit for the Galloway, Texas star in 1957.

Perryville, Texas native Ray Price hit Nashville in the early 1950s, scoring his first number-one in 1956 with "Crazy Arms." His Cherokee Cowboys band boasted such members as Willie Nelson, Johnny Paycheck and Roger Miller at different times. His biggest hit to date is the Kris Kristofferson tune "For the Good Times."

Eddy Arnold was successful before becoming part of the Nashville Sound, but with the release of the 1965 string-filled hit "Make the World Go Away," the country crooner's career experienced a second surge.

I was too young to hear whatever pissing and moaning probably came from the purists back in those days, but I do remember the cycle, and appropriate p'n and m'n, coming back around in the 70's and early 80's with the "countrypolitan" sound of folks like Kenny Rogers, Lee Greenwood, Barbara Mandrell, et al.

And I believed then what I believe, and have shared on the air, now.

That, at the very least, the upside to widening the demo on country music is that it only benefits it.

The young people who listen to Taylor Swift might never have had the pleasure of discovering the pioneers of country music like Hank, Sr and Patsy, Conway and Loretta, Jim Reeves and Eddy Arnold and, yes, even George Jones if they weren't tuning into, and discovering, country music.

That, I would offer you, goes a long way towards taking the light of country music out from under the bushel.

And, truth be told and faced, we live in high tech world of Mp3, Ipod and downloadable music, Internet access and satellite/cable TV, all of which are making the "lines" between styles/formats of popular music thinner with each passing logged on day.

In the very best sense of bringing us all a little closer in our appreciation of those styles, it's can't be anything but a good thing that...

"The Times They Are-A Changin".

Words and music by Bob Dylan.

One of those "pop" fellers.

I'm done pickin' on you now, George.

Happy New Year.

"After All, They Never Wrote...'I Want To Hold Your Other Hand'...."

2009-12-20T03:48:00.000-08:00

George Jones is right.

Sort of.

A while back, I wrote a piece about George's unhappiness with the state of contemporary country music.

In a nutshell, he thinks that country ain't all that country these days.

While he singled out folks like Alan Jackson and George Strait and gave them props for doing their part to keep "traditional" country music alive and on the air, it was pretty obvious that, without naming names, he didn't have much use for the likes of Carrie Underwood, Taylor Swift, Keith Urban, et al, the current crop of country superstars who are, and lets just be honest like mama and papa would want us to be, about as "country" as Madonna.

My take on it has, for a long time, been that a lot of what constitutes "country music" in this period of music history is really just pop music with fiddles and/or steel added to the mix to "authenticate" it.

And my personal opinion has been, and remains, that pop singers have wandered into Nashville to make their music because they simply have nowhere else to go.

The top 40 is largely dominated by predominantly black, urban, hip hop, dance, etc...

Not that there's anything wrong with that.

...and pop...simple, infectious but not overly baked pop songs and singers dont have a "genre" they can call their own.

George actually alluded to that himself in the infamous interview.

Not to put words in his mouth, but, in so many words, what he basically was telling the wandering popsters was "God bless ya, but ya'll don't belong here, now, ya'll move along and find yourself another place to hang out..."

The musical equivalent of "yankee, go home", as it were.

Personally, I don't have a problem with the flow of pop music into the country mainstream.

But, then, I was raised on a mixture that was about 20% George and Tammy and 80% John, Paul, George and Ringo.

And while I think it's a bit narrow minded of George to exhibit high society snobbery to protest the fact his new neighbors aren't small town enough, I'll give him this much.

As far as current country music is concerned, there's room for improvement.

But, for me, it ain't as much about the "what" as it is about the "what, again?"

To wit...

Here's a list from CMT of their take on the ten greatest songs in country music. And while I'd tweak the list here and there, as would you, I'm sure, it's close enough to make the point I'll make shortly.

1. Stand By Your Man
2. He Stopped Loving Her Today
3. Crazy
4. Ring Of Fire
5. Your Cheatin' Heart
6. Friends In Low Places
7. I Fall To Pieces
8. Galveston
9. Behind Closed Doors.
10. Blue Moon Of Kentucky

And, scattered throughout the next twenty or so, such classics as...Coal Miner's Daughter, The Chair, The Gambler, Harper Valley PTA and modern work like Independence Day.

Take another look at those song titles and see if you see the common thread that I see.

No?

Right.

Because, fact is, there isn't a common thread.

While all of those songs, in one way or another, touch on basic and shared human values and virtues like love and heartbreak and happiness and sadness, etc, they are all unique in their approach, their style and their "slant", as it were.

Each one an audio painting, if you will, quite unlike any of the others.

Fast forward to the current country charts.

In just the last twelve months or so, the following songs have all appeared on the air and the charts...

Big Green Tractor
Small Town USA
Small Town Southern Man
Ladies Love Country Boys
Country Boy
Bonfire
Little More Country Than That
Boots On

And the list, like the boots, goes on.

Don't think you have to be a musicologist to see the thread there.

Small town, down home, country-fied and country fried, each of those songs, to a song, is, give or take a lyric, pretty much the same song with a different melody.

And you don't have to be a financial analyst to see the motive here.

If at first you succeed... sequel, sequel, sequel.

I don't agree with George Jones, in so far as feeling like the pop folks should keep on driving as they pass through Nashville.

But I understand how he feels.

Country music doesn't sound like it used to.

Oh, the steel guitars and fiddles are still up front in the mix most of the time.

But there's this annoying sound in the background that, no matter how you try, you just can't tune out.

Ka-ching.

"...Chestnuts Roasting on an Open Pyre..."

2009-12-19T05:22:00.000-08:00

Christmas is, obviously, about Christ.

But, it's not just a little bit about Nat King Cole, too.

Not only because he sang "The Christmas Song".

And sang...and sang...and sang...and...

But because he fathered Natalie Cole.

Who, years after her dad's death, pioneered the idea of being able to duet with the dearly departed and was "morphed into" both the song and video of the classic "Unforgettable."

Which brings us to Christmas.

Were it not for Nat King Cole, who sang "The Christmas Song" (and sang and sang and...) fathering Natalie Cole who was in a video with her dad years after her dad died, it's possible that we wouldn't have had the opportunity to experience the lovely and talented Martina McBride sharing a stage and song with...

...the lovely and talented Elvis Presley...

...who died when Martina was just shy of 11 years old.

Is the idea of singing "live" with deceased people just a scoche creepy?

Yeah.

Is it fun and totally cool?

Dead right.

"...It's A Mustache...Only Right That It Tickles Us..."

2009-12-13T07:49:00.000-08:00

Brad Paisley owes Roger Miller.

And Heartland owes Brad Paisley.

Roger was the first real mainstream country star to bring an obvious sense of humor to his hits without crossing over the line into Homer and Jethro territory.

Dang Me. Chug A Lug. You Can't Roller Skate In A Buffalo Herd.

And Brad has carried on the tradition by bringing an obvious sense of humor to his hits without crossing over the line into Cledus T. Judd territory.

I'm Gonna Miss Her. Online. I'm Still A Guy.

And now Heartland puts boot firmly to pedal, pedal firmly to the metal and tongue firmly in cheek.

My guess is that Roger is proud of all ya'll...

"...Tis' The Season For Surprises, Fa La La La La...."

2009-12-12T15:46:00.000-08:00

Christmas is a time of surprises.

I do like surprises.

And here's one of this year's nicest...

Here's why I really like this song...

I'm usually skeptical about songs that nudge the line between tribute and pandering because Lord knows it's a wafer thin line.

And I don't usually expect touching and vocal performances to come from singers whose main gig isn't singing.

But this song took the gold on both counts.

Because it is a touching, but not overblown, salute to the folks who give so much to us all year, every year.

And the singer has an unsinging day job.

Country comic Rodney Carrington.

A very cool surprise.

And I do like surprises.

Yes, It IS Ridiculous....That's The Point, Ya'll..."

2009-11-22T04:31:00.000-08:00

Them there city folk who think that country music is beneath em' need to be brought down a peg or two.

More to the point, they need to be aware that country music has something that pretty much every other genre' of music lacks big time.

A quality, actually, that is considered a virtue in the book of humanity.

An ability to laugh at itself.

The best known of the "don't ya'll make fun of us because we do THAT better, too" songs include a lot of Brad Paisley's stuff, almost all of the songs that Pinkard and Bowden cranked out, pioneered, obviously, by the wonderful work of Homer and Jethro and, of course, the perennial Christmas favorite, " Please, Daddy, Don't Get Drunk This Christmas."

Oh, and a lesser known, but still funny piece..."You Dun Stomped On My Heart " (..."you just sorta / stomped on my aorta...")

In non-country hands, that kind of song would just be a cheap shot.

The reason they're funny, and classy, is because they are written and performed by country writers and singers.

If you haven't heard of The Notorious Cherry Bombs, you have, I promise, heard of some of their membership.

Rodney Crowell...singer, songwriter, former husband of Rosanne Cash and founder of The Hot Band, the backing group for Emmylou Harris

Eddie Bayers, Emory Gordy Jr, Larrie London, Michael Rhodes, Tony Brown, et al...all world class musicians and Nashville session players...

and...

Vince Gill...who I believe you've heard of down the road somewhere...

The Bombs' CD is available online (most likely Ebay) and has some cookin' "serious" country music on it.

But it's worth the price of admission if only for the following song.

If Mariah Carey could come even close to laughing at herself like this, she could quadruple her fan base overnight.

Enjoy.

"..When You're FIFTEEN..and Somebody Tells You They Love You...You Accept The Awards, For Heaven's Sake..."

2009-11-21T04:55:00.000-08:00

Ain't no gettin' around it.

This whole Taylor Swift thing is phenomenal.

"...phenomenon (n.)

somebody or something that is, or considered to be, truly extraordinary and marvelous; something that is out of the ordinary and excites people's interest and curiousity..."

That sounds about right.

Of course, purists continue to grouse that Taylor's work is about as "real" country music as Olivia Newton John.

The 1974 CMA Female Vocalist of the Year, by the way.

I don't have much interest in getting into the whole "pure/not pure" discussion.

And I think the grousers miss the point.

The point is that the point is moot.

If you're a country music fan and you love to listen to Taylor Swift and you hear Taylor Swift on country radio, then, to you, Taylor Swift is "real" country.

And if country radio didn't think that you think Taylor was "real" country, we wouldn't be playing her on our shows.

Taylor's job is to make music and sell CD's.

My job is to get you to listen to me play music.

We're both doing our jobs.

Admittedly, she's getting a lot more adoration.

And a whole lot more money.

What's up with that, by the way?

I mean, come on, Taylor's a good kid and works pretty hard, I'm sure, but I bet she don't get up at 3:30 AM and drag it in here to get your day started with some hits and ha-has.

And Kanye West probably doesn't even know who I am.

That don't seem right.

Anyway, I think the "real/not real" country music discussion is, at best, a hair split activity and, at worst, an exercise in futility.

And by way of offering a little solstice on the hurt the "real" country music purists feel with this whole incursion of "pop" singers on 16th Avenue, Nashville, let me just say this...

"Phenomenon" has an additional definition...

"an occurance that can be observed.."

And occurances don't necessarily gurantee re-occurances.

Jury's still out and Taylor Swift may be around making music and winning CMA/ACM/etc awards for decades to come.

Or she could also end up like the 1996 CMA Best New Artist of the Year award winner.

Bryan White.

Who?

Exactly.

"Obama Must Be Glad They Didn't Wait To Give Out The Nobels Until November..."

2009-11-12T13:42:00.000-08:00

Today, Randy Travis and I have something in common.

He wrote it. I said it.

I Told You So.

Yesterday morning, during my "special CMA Day" show, I predicted on air that the winner of the Best New Artist CMA Award would be Darius Rucker.

But rather than just spitting out a name at random, I explained why I thought it was going to shake out that way. And with the asterisk attached that all awards are based on subjective criteria, here was the madness behind my method.

If the award was going to live up to its name then, I said, the most likely choice was Jamey Johnson. He is new, his work is certainly unique, which qualifies it, in my book, as "artistry" and while the adjective "best" is always a slippery slope, I thought that he "best" represents what one might expect to find in a "best new artist."

Here's why, in the judgement of the CMA, Darius is and Jamey isn't.

The best new artist, that is.

Like the Motion Picture Academy and the Academy of Recording Arts and Sciences, the Country Music Association likes to posture itself as an "artistic" organization, paying homage and doing due dilligence to those of its members who exhibit the highest caliber of the aforementioned artistic achievement.

As my granny used to say...oh, poo.

In large measure, the CMA Awards, like the Oscars and the Grammys are, at the heart of it, awards given to the most popular performer, performance, etc in any given category.

Not that there's anything wrong with that.

But, come on, kids. Does anyone with an ear older than six honestly think that Taylor Swift is a "better" singer than, say, Martina McBride?

I'd love to get Taylor and Martina on a show some morning, have both of them sing the National Anthem and then open the phones to let listeners decide which one brought the house down.

Game, set, match, McBride.

But Taylor Swift is this year's CMA Female Vocalist of the Year.

The comparisons can go on ad nauseum.

Does the "show" that Taylor puts on hold a candle to the show that Chesney puts on? Or Paisley?

But Taylor Swift is this year's CMA Entertainer of The Year.

And Darius Rucker, who is an established pop star with an obvious talent who brought a whole CD buying crowd of skeptical pop fans over the fence with him when he jumped into the country cooker, is this year's CMA Best New Artist of the Year.

In the news..."Pop Star Sees the Light...Turns Country and Sells Millions..."

There's absolutely nothing wrong with Darius Rucker being embraced by the country music industry and country music fans.

You go, Hootie.

But giving him the Best New Artist award over folks like Jamey and Zac Brown, et al, reminds me of a very funny thing Jay Leno said a long time ago.

It was in the early days of Madonna's career. She had a couple of hits under her bustier and MTV, in its own award giving wisdom, chose to bestow upon her its Lifetime Achievement Award.

Leno announced that during a monologue the next night and added...

"...wow...that oughta give Ella Fitzgerald something to shoot for...."

My guess is the odds are good that Darius is a lock for next year's CMA Lifetime Achievement Award.

Alright...indeed...

"In Country Music, As In Life, Change Can Come Swiftly.."

2009-11-08T04:47:00.000-08:00

The whole argument about "pure" country versus "contemporary" country tiptoes right up to the line of being disingenuous.

Taylor Swift is the proof.

Did she work her way up to fame from the coal mining towns of Kentucky?

No.

Can you imagine that she will ever have a clothing store complete with boots, buckles and key chains on lower Broadway (uh, that's Nashville's lower Broad to all you big city interlopers..)?

Uh, not.

Do you imagine that she would look sillier than Michael Dukakis in that Snoopy helmet he wore twenty plus years ago by sitting on a tractor or squinting down the barrel as she hung out in the family deer stand?

Ya, you betcha.

But even the heart hardened can't honestly deny that the kid's got game. She writes em' purty, she sings em' purty and, as evidenced from last night's SNL hosting gig, she's got some purty solid comic chops, too.

And she's what, like, twelve?

Do the math. She could have an amazing career of ten plus years, disappear from sight for five plus years and then make a "comeback"...

And she'd only be in her thirties.

Talk about career longevitiy.

And if the point must be made that she doesn't sing "pure" country (and while that has the appearance of a fair point, I'd suggest that it would be fun to have a roundtable debate on just what exactly that term really means..), the point should also be made that her success is shining a very bright and very positive light on Nashville and not only entertaining millions of country music fans, but also millions of fans who, when they think country music,think, as Trace Adkins cleverly put it, "..twang and trains and hillbilly thing.."

Not to mentioning opening the doors of opportunity for a lot of singers and writers who will benefit from the opening minds of music industry movers and shakers who can see that country music is really no longer JUST about the aforementioned "twang and...".

In other words, Taylor Swift, whatever else she may or may not bring to the show biz table, is the best damned ambassador Nasvhille has ever lucked into.

And for those folks who simply can't accept that it's not 1961 anymore and that country music has evolved past George and Tammy and Conway and Loretty, try looking at it this way...

If the first exposure that "city folk" ever had to country music had to be a singer that was more pop than Patsy, be thankful for small favors...

And it turned out to be Taylor Swift.

And not Lady Gaga.

"I Just Wanna Say God Bless...What Would Be A Good Time for Me And The Reporters to Come By?..."

2009-11-07T06:33:00.000-08:00

There's something very touching about the following story.

And something not.

When country star Dierks Bentley met Sgt. Kimberly Munley last July as he played an Independence Day concert at Ft. Hood, the police officer stood out to him.

"She was on the police force and was off to the side but I could tell she was a fan," he told PEOPLE Friday. Munley waited quietly until the crowd thinned out and then approached Bentley for a picture, which she posted as her Twitter profile image.

Now, it's the singer who is proud to be pictured with Munley, hailed as a hero after stopping Maj. Nidal Malik Hasan, the alleged the shooter responsible for Thursday's massacre at Ft. Hood Army base, which killed 13 people.

Bentley telephoned Munley, 34, on Friday morning after he learned that she helped fell the gunman and had been wounded in the process.

"I said I was honored to have my picture with her and that my band and I were all thinking of her and praying for the folks on the base. I told her, 'We are all just really thankful to you,' " says Bentley. "She was quiet and she's just humble person and said she was just doing what she does. She would say she's just out there doing her job, but it's a pretty amazing job she did. It's pretty impressive.”

Bentley says Munley was in good spirits despite her injuries and the grave nature of the previous day's events. "I can't imagine what that experience was like but she said she's okay," he says. "She said she lost a lot of blood but it sounded like she's on the road to recovery."

Bentley, who plans to return to Ft. Hood to see Munley again, says those on the base are no doubt shaken by the shooting, but will draw on the strength of their close-knit military community.

"God, these families – there is a reason why they call them Army strong. There's strong and then there's Army strong," he says. "They have to deal with their friends, husbands, sons, daughters putting themselves in harm's way far away and now to have that worry in their own community where they should feel they are the safest? But these are the strongest people. It's a really tight-knit group and they lift each other up when they are down."

I've written before that, just once, I'd like to hear a celebrity talk about some personal triumph over adversity without the phrase "...and it's all in my new book, available at bookstores nationwide.." inevitably ending their sharing.

I got a small twinge of the same feeling when I read about Dierks' outreach.

Is it touching and classy that this guy offered his thanks to this woman who is, without question, a true hero?

Of course, it is.

Would have been not just a little bit classier to have done it privately without having it splashed all over the pages of People Magazine?

I vote yes.

Benefit of the doubt, such as it is, I'd lay odds that it was somebody in Dierks' publicist's office who did the horn tooting.

Still, tacky is as tacky does.

The old saying is "there's no such thing as bad publicity.."

I'd offer that "there's such a thing as bad good publicity..."

That said, I agree with Dierks... 'We are all just really thankful to you,' "

And we can all relate to what it's like to be faced with life challenges we never expected.

Like all of you, I've had my own share of obstacles to overcome.

And you can read about them in my new book, available at bookstores nationwide.

"If, Ands, But....No Butts...."

2009-11-06T18:48:00.000-08:00

Don't mean to step on anybody's "toes"....

But I don't have a problem with "ass".

One of the fresher groups to come along in country music this past year is the Zac Brown Band.

From the first time "Chicken Fried" showed up on the "looking for adds" list to the catchy groove of "Whatever It Is", it was clear as clear gets that this was a bunch of talents who were bringing a much welcomed, unique sound to country music and country radio.

And the crowd goes wild.

Yay.

Now, with their latest hit, the equally catchy and unique "Toes", a little broohaha has bubbled up.

The opening lyric of the song gets right down to brass tacks.

"I've got my toes in the water / ass in the sand...."

The "A" word show up a few more times along the way with absolutely no attempt made by the guys to disguise, underspeak, undersing or underemphasize it's inclusion.

Ass.

Plain and simple.

I started playing the song on my show and station as soon as I heard it because it's catchy, unique and clever.

And after the first listen or two and the inevitable initial eyebrow raised at the first hearing of the A word, I didnt give it another thought.

Then, I happened to be listening to Blair Garner's "After Midnite", a nationally syndicated show and heard an alternate version of the song.

In place of the A word, Zac simply sang the T word again.

So, the lyric was..."I got my toes in the water / toes in the sand..."

Well, don't take a Rhodes scholar to read the handwriting there.

Obviously, Zac provided a "safer" version for anybody who might resist programming the song for fear of sending little old ladies into cardiac arrest at the blatant uttering of the anal euphemsism.

Smart move on Zac's part, I suppose.

But I really expected more from Blair.

I've noticed that the other major country station in my market is playing the sani-tuned version, as well.

Geez, louise, guys.

Unasked and, frankly, unapologetic, allow me to share with you why I'm playing the cheeky version.

First, the line " toes in the water / toes in the sand" doesnt make any sense.

How can your toes be in the water and in the sand at the same time?

Second, nobody got their knickers in a twist when Toby Keith came assing down the airwaves.

"Courtesy of The Red, White and Blue", if you please.

And we all still play that one.

Complete with that little warning to the terrorist element that "we'll put a boot in your ass...", etc.

Far as I know, aint no version where Toby threatens to show the terror troops what for by putting a boot in their sand.

Or toes in their boots.

Or whatever.

I'm a father and grandfather and I'm ready to stand right straight up when something truly prurient comes across my desk and wants to be put on the air.

But, it's 2009.

And I dont think the youth of America is going to degenerate into a raving mob of salivating cretins simply because Zac Brown has his ass in the sand and sings about it.

Seems to be that if it's necessary to "beep" Zac, then it should have been necessary to "beep" Toby.

And it wasn't.

So, when it comes to ass...I think what's good for the goose...

Now, if you have a problem with me using the words goose and ass in the same sentence, I'll cut you some slack.

"Their Qualification for The Job Is...They've Got The Job..."

2009-11-04T16:43:00.000-08:00

Oxymorons.

An often witty little feature of our everyday language.

Defined, of course, as a phrase containing conflicting words.

Jumbo shrimp.

Free gift.

Military intelligence.

Music critic.

That last one is my invention.

I'm both copa and cetic with the idea that everyone is entitled to their opinion.

And when it comes to subjects that generate opinions, you cant do much better than musical taste.

But, musical taste is a subject that makes the subject of critque irrelevant.

Because, it's totally subjective.

That's why "critics" of music who offer up their two cents about whether this CD is good or this CD is bad or this CD is whatever are generally a waste of your reading and/or listening time and/or consideration.

The only music critic whose "observations" ever resonated for me was the late Frank Zappa.

"I do what I do", he said, "you either get it or you dont. I dont have time to explain it to you."

The chap in the video at the end of this piece has obviously convinced somebody with a checkbook that his two cents are worth paying for.

Nice work if you can get it.

Personally, I agree with what this "expert" says about Carrie Underwood's newest CD and the whole "machine" thing.

But, it doesnt matter a hoot in hell what this guy says or whether I agree with him.

Or don't.

Because neither his, nor my, opinion is going to prevent millions of Carrie Underwood fans from forking over twenty bucks to buy the CD.

Nor should it.

Because they're entitled to their opinions, too.

And, what the hell, it's their money.

For my money, here's an opinion.

Nashville is a factory that is in business to manufacture product that will appeal to a broad and massive audience in the hopes that they will sell lots of said product.

They make no secret about it.

"Critics" are people who cloak their personal opinions in some kind of "credibility" cloud in the hopes that they will keep getting a check to offer those opinions.

Those that can, do.

Those that can't, teach.

Those that can't do or teach...

Offer "professional opinions."

Now, there's an oxymoron.

"...Johnny B. Deere..."

2009-10-31T04:51:00.000-07:00

Here's another brain wrinkle or two on the whole "pure" country thing.

My personal early years were spent in an environment where music was, simply, music and labels weren't part of the paradigm.

Save, of course, for the actual labels on the records.

Har-har.

And while the combination of my particular generation and the geographical/sociological nature of my childhood reared me up into a fuller appreciation of pop and rock and roll than it did country, I was only marginally inclined to be dismissive of the "twangin' hokey honky tonkin'" presentation that country music seemed to offer in those years.

I mean, after all, a lot of the abuse that country music suffered in those years was self inflicted.

It's a little hard not to giggle just a bit derisively when a guy like Porter Wagoner stands there in his fully nuked Nudie designed toreador cut suit and announces, with a straight and sincere face, that the "next song we'd like to play for all you friends and neighbors is a number that I wrote...it's called 'Life Rides The Train...But Time Always Flies'..."

Those of us who laughed at that kind of stuff weren't trying to be mean spirited.

We honestly thought he was trying to be funny.

Honest.

I think it was somewhere in the mid sixties where the tide started to turn just a little in terms of the acceptance and/or rejection of country music by the masses. It was during those years that acts like Roger Miller and The Statler Brothers, among others, started showing up on the pop charts, sprinkled ever so obviously amongst the Beatles and Byrds and Beau Brummels's that were dominating the teenage airwaves of choice in those days.

My twenty buck JC Penney's transistor radio was always tuned to either WNOE or WTIX in New Orleans, both blatantly top forty stations in the day, and it didn't seem a bit odd or jarring to hear "I Feel Fine" followed by "King of The Road" followed by "Mr. Tambourine Man" followed by "Flowers On The Wall."

Admittedly, it would have been a little jarring to hear "Laugh, Laugh" followed by "Life Rides The Train, But Time Always Flies", but even then programmers had a sense of just what level of push the envelope could bear and still sell oil changes and breakfast cereals.

From that point on, I dont think you have to be a Mensa member to realize that it was inevitable that the door, so to speak, between the genres' was now open and the "friends and neighbors" would increasingly cross back and forth, sharing with one another their respective tastes and recipes.

And in the grand scheme of things, that's really a very positive thing.

Rock and rollers learned that country music was more than just some nasal pining for mama's fried chicken and a sturdy tractor and country music fans realized that you could, in fact, rock and roll all night and party every day without having your final destination pass irrevocably stamped "GOING TO HELL".

Turns out, we really could, in fact, all get along.

Think United Federation of Planets.

Then unplug "humans" and "Klingons" and plug in "rockers" and "rednecks".

Live long...and party on...

Ya'll.

"George May Like His Sour Mash...But He Don't Care Much For Pop.."

2009-10-24T06:27:00.000-07:00

The debate has been going on for a lot of years.

If memory serves, it first bubbled up in a major way back in the 1970's when the CMA gave the Entertainer of the Year Award to that tradtionalist/purist/bedrock legend of country music...

...John Denver.

Lately, though, with the multi-generational, multi-cultural (translation: multi-platinum) success of Taylor Swift and Carrie Underwood and Keith Urban, et al, the debate is finding new legs...and voice.

As evidenced by this little nugget that I shared on the show this week:

George Jones is accusing the new crop of pop-country crossover artists of identity theft. He says “they’ve stolen our identity. That’s what I think.” Jones says they had to use some sort of established name for their kind of music, so he says they decided to use “country.” He says what they need to do is “find their own title, because they’re definitely not traditional country music.” Jones says he’s happy to see that Alan Jackson and George Strait are still out there doing “traditional country.”

I've made no secret of the fact that I grew up playing and writing pop songs, got my first guitar because I wanted to be a Beatle like every other twelve year old on the block and though I have proudly written what I think are some pretty damn good country songs (good enough to be recorded by some pretty respectable country artists), I also spent a lot of years writing pop leaning songs right there in the heart of Music City, USA.

In other words, I have no problem with what Taylor and Carrie and Keith are up to.

But here's a thing.

I agree with George.

To a point.

I think "theft" is a little strong. "Usurption" might be a better fit.

Although, with all due respect to the Tenneessee educational system, I think it not incorrect to add that "usurp" isn't a word that gets dropped a lot during the weekly breakfast meets at Pancake Pantry.

The part where George and I are eye to eye, as it were, is the part about this crop of singers and songwriters needing some sort of established name for their work.

Because the song business that prides itself on artistry and free spirited creation is nothing if not adament that everything has to have a very specific label.

I feel pretty sure that nobody set out to sneak in the garage and leave a pop music seed pod to take over while country music slept unwittingly in the night.

The pop gang simply showed up in country music because they had nowhere else to go.

Pop music, per se', is, and has been for some time, no longer "pop music". The pop charts are basically filled with dance, hip hop, etc.

And, like it or not, country purists, the closest cousin to country music is, in fact, pop music.

"True" country fans very likely don't own a single Rhianna CD, but I bet you my Al Gore DVD that they own at least one Beatles album.

Or even John Denver.

So, for singers like Garth and Shania and, of late, Carrie and Taylor and Keith, the almost inevitable solution to the problem of musical homelessness was to take their pop music, add some steel and/or fiddle and show up on 16th Ave's doorstep with a wish and a prayer and a demo tape.

George Jones is a classic singer of classic country songs.

But lamenting the loss of "pure" country music and petitioning for it's "return" is an exercise in futility.

And, frankly, not just a little bit disingenous.

Music, by definition, is incapable of purity.

The music family is, simply, just that.

Family.

And putting down the pop side of the brood has just the faintest resemblance to that funny, but rude, bumper sticker:

"Welcome to Nashville...now, ya'll go home..."

Can't help but wonder how many royalty dollars from "I Stopped Loving Her Today" came from "pop music" fans.

And maybe helped pay for that famous riding lawn mower, there, possum.

Not to mention one of your other biggest, classic country hits.

"White Lighnin".

Written by J.P. Richardson, who we all might remember better as The Big Bopper.

And had a hit of his own.

"Chantilly Lace".

Classic...

And pop.

"Spunky...Sassy....and Country....Ring A Bell?"

2009-10-21T13:38:00.000-07:00

Need a favor.

Keep an open mind.

Because chances are that you are going to reject, out of hand, what I am about to tell you.

And not so much because what I'm going to tell you is right or wrong, per se', but because it, admittedly, comes a little out of left field.

Pretty much from the first moment I heard her voice and saw her perform, something seemed very familiar about Jo Dee Messina.

And it took me a little while to piece it all together in the never a dull moment amusement park that is my brain.

But I finally figured it out.

And I want to share it with you.

But, first, put your "read" brain on pause for a couple of minutes and play the video. Oh...and as you do, pay less attention to the glitz and glimmer of the production than you do the sound of Jo Dee's voice and the attitude accompanying.

Enjoy. I'll be right here when you finish.

Okay.

Here's the thing.

There is something specific about the tonal quality of her voice and the attitude she projects, not only on that song, but pretty much on every thing she does, that made me realize who it was that she reminds me of.

If she were just in her early 30's today and just starting out in the contemporary country music business, she would sound, look and act just like Jo Dee Messina.

Loretta Lynn.

See?

I told you you'd reject the idea out of hand.

But, trust me, if you pick out a handful of Loretta's sassiest stuff, give them a good and fair listen and then listen to a similar bunch of Jo Dee's material, I'll bet you an all expense paid trip to Butcher Holler that you're going to hear and see Loretta peeking out from behind Jo Dee's strut and swagger.

And it's not faint praise of Jo Dee to say that I hear Loretta's tone and timber coming out of her mouth.

Is any of this going to alter the history of country music or save the planet from the ravages of global warming?

Nah.

But, now that I see the hidden figure inside the collage of colors, I get a new kick out of enjoying Jo Dee Messina's work.

And there's one other thing I think the two very talented ladies have in common.

Ain't never gonna be nobody like Loretta Lynn.

Ditto Jo Dee.

"Wonder If He'll Make Elephants Disappear..."

2009-10-15T09:00:00.000-07:00

During a chat with some broadcasting peers the other day, the conversation worked its way around to the difference between "contemporary" and "classic" country music.

A variety of names got tossed into the mixer from Carrie Underwood to Keith Urban, from Patsy Cline to Hank Sr before one name popped up that surprised us.

Not so much because his name popped up.

But because it made us realize that we had all, without realizing it, gotten older.

Garth Brooks.

And the realization of aging came with the realization that Garth has crossed over.

His music has been around since the early 1990's.

That makes it almost twenty years since we first heard him.

And that, my fellow country folks/fans means that Garth is no longer a contemporary country artist.

He's classic, Jerry. Country classic.

Not that there's anything wrong with that.

It's just that we all seem to naturally want to gravitate away from anything that appears before us as an unmistakable roadsign that we have less miles ahead of us in the life journey that we do behind us.

So, after a few more minutes of fast footwork, loose chat and a whole messa rationalization, we had just about convinced ourselves that Garth was still relevant, still young, ergo, still entitled to check the box marked "contemporary" on his CMA Certified Preeformer Card.

Then, damned if Troyal didn't go and dash our hopes his very own self today.

By announcing his "un-retirement" and return to the performing arena.

Ready to lock, load and take on Carrie and Keith and Brad and Taylor and Toby and Blake and Miranda and open up a can of country music whup ass on em?

Not exactly.

Garth Brooks. In house artist. At a major hotel/casino

In Las Vegas.

Following in the proud tradition of Don Ho.

David Copperfield.

Siegried and Roy.

Celine Dion.

And Wayne Newton.

I'm sure the blue haired fans will be in a frenzy and the Garth Brooks Experience, complete with coupons for the all night buffet will be just boffo.

But, damn, my friends and I are much too young to feel this damn old.

"The Barn Has Bats...Ozzy Bites Their Heads Off...Tomato, Tomahto..."

2009-10-11T07:21:00.000-07:00

What do Alice Cooper, Marilyn Manson and, say, Luke Bryan, Jason Aldean and Justin Moore all have in common?

Well, not much.

But a little something.

They are all performers. As in offering their skills and/or talents to an audience that has paid hard earned money and gathered in some venue to witness and, hopefully, enjoy the offering of said skills and/or talents.

And while, if you’re a country fan, Alice and Marilyn might not be your cup of Mountain D or, if, of course, you’re not partial to the sounds of the country, Luke, Jason, Justin and their homies might leave you cold, I could confidently stand in front of any judge and jury in the world and make the convincing case that the only real difference between the two groups is their particular style of presenting the aforementioned skills and/or talents.

People who love Brussels Sprouts might hate okra.

And vicy versy.

But they’re both undeniably vegetables.

I only mention it because this past week or so, I’ve noticed as I do my shows (show biz glamour aside, it’s part of my job to pay attention to these kinds of things…) that the current top twenty country chart is well represented by songs, give or take a hook, similar in theme.

The joys, virtues and desirability of living the “country” life.

“Small Town USA”.

“My Big Green Tractor”.

“Bonfire”.

“Looks Like Life To Me”.

And in past, but fairly recent, weeks…

“Small Town Southern Man”

“She’s Country”

“Ladies Love Country Boys”.

Etc, etc…

Now, there’s nothing new goin’ on here.

Country music has, since its inception, been about livin’, lovin’, cryin’ and dyin’ in, well…the country.

And the more things change…

But, here’s a thing…

Times, and tastes, have changed. Country music, in the traditional definition, has evolved from a grass roots based, down home expression of that way of life played and sung for a specific segment of society that lived or live that way of life into a multi billion dollar category of show business on a par with any other category of popular music.

And I say, yee and haw.

Cause, after all, isn’t that kind of acceptance, not to mention success, part of the American dream?

Damn skippy.

Here’s where it gets a little interesting.

I’ve seen and/or read through the years interviews with both Alice Cooper and Marilyn Manson in which they both, in their own ways, make no bones about the fact that what they do with their music and presentation, love em or hate em, is nothing more or less than show biz.

An act.

A persona.

An alter ego.

Alice, for example, is, in real life, Vince Furnier, a very polite, warm and engaging guy who likes to play golf.

Marilyn is a 40 year old fellow named Brian Warner who, while certainly unique, would probably be somebody you wouldn’t have a problem with if you needed a babysitter one Friday go to the movies night.

What about Luke, Justin, Jason, et al?

I haven’t had the pleasure, but I have every reason to believe that they are good and kind gentlemen who I would appreciate knowing and whose friendship I would enjoy.

Fan of irony that I am, though, I get a kick out of hearing words and music about the down home life coming from down home guys and gals who, I feel pretty sure, aren’t planning on spending the millions they hope to make with their success on a new plow for the back forty.

Name any country star who has “hit it big” in the last, say ten to twenty years, and I’m willing to bet you my Faith Hill autographed CD that not a one of them live “the simple life.”

And again, I say, more power, diesel or otherwise, to em’.

The bottom line here is, to put it country, simple.

If your kids enjoy their Nine Inch Nails along with their Keith Urban or have equal amounts of Coldplay mixed in with their Carrie Underwood on the Ipod, not to worry.

All of the aforementioned, be they from Memphis or Manhattan, are performers.

Putting on a show.

Nothing more, nothing less.

Do the rockers take it over the top sometimes?

Sure.

A little bit.

But, like Alan says…

It’s alright to be little bitty.

"Not To Worry...They Got It Covered..."

2009-10-10T08:51:00.000-07:00

I talk a lot on the show about being a hard sell when it comes to country singers covering pop songs.

And, fair being fair, I'm equally skeptical when pop artists try to return the favor.

I think it's probably not a stretch, though, to say that more country singers aspire to go pop than the other way around.

My guess would be it's gonna be a while before Coldplay takes a crack at "Coal Miner's Daughter".

There are, of course, always exceptions to my rule of thumg because some singers understand that the trick to it is realizing it's about finding the song that fits what they already do, style wise.

Ronnie and Kix found it when they covered the B.W. Stevenson hit, "My Maria"...and Lonestar completely nailed "Walking In Memphis."

I've included a video for you here of another really good choice...the song was actually a pop hit for the group Dream Academy back in the 80's. But Jennifer and Kristian, with the help of Jake Owen and Little Big Town, turn this into a piece that crosses all the musical borders seamlessly.

Hey, nah, nah, indeed.

Enjoy.