Countrypolitan Blues Redux

I published several articles and reviews in 2005 in various places, but, by far, the one that generated the most response was my review of the telecast of the 39^th annual Country Music Association awards show for National Review Online.

The article generated dozens and dozens of emails, about 95 percent of which were, I’m genuinely amazed to say, positive and even congratulatory. (I was remiss in checking the LttL mailbox for a couple of weeks after the piece ran on Nov. 16, and I apologize to everyone who took the time to write for not responding to your thoughts sooner.)

There were a few common points that kept popping up in the insightful and passionate responses, so I’ll address those here and hit some of the specific ones in private correspondence:

Dwight Yoakam

My tagline stating that I was putting on Yoakam’s Blame the Vain to cleanse my palate was greeted warmly by about half of those who wrote me. I’m glad and not at all surprised that he has such a strong fan base of people who love not only country music, but music in general.

Dwight is a very stylish guy with quite a polished public persona, but unlike many of today’s cookie cutter country stars, you get the sense that that’s really who Dwight is, and the depth of his self-penned lyrics and soulful singing confirms that sense.

He’s the perfect example of someone who doesn’t strictly play by the rules of country music – whether those imposed by the modern Nashville orthodoxy or by traditionalists like me – but succeeds in being a great country artist, like Cash, Merle, Willie and others with the same individualist bent. It’s not surprising then that he has never won a CMA award or that country radio barely plays him, which leads me to the next point…

Country radio

Many people asked what I thought about country radio. Let’s face it, over-the-air radio as a venue in which to hear new, exciting essential music or the true classics that never fade – in any genre of music – is practically dead.

I’m not blaming that on Rupert Murdoch or Clear Channel or Newt Gingrich or the FCC, like some people do. I’m more interested in what comes next, and I’m pretty sure it’s not going to be satellite radio, at least in the current XM vs. Sirius mode.

Those two companies may succeed, but from what I’ve heard so far, I think even specialized channels on the satellite networks will soon become as computer-programmed, bland and commercial-laden as regular radio. More subscribers will drive the content to the middle of the road or the lowest common denominator, whichever cliché you prefer.

There are two things that will work for real music fans:

1) Personalized radio programs, like the one here, that use preference-matching applications to generate a constant stream of new and old music that each listener might like.

2) Good old-fashioned DJs who will be able to create playlists with an actual human imagination and be able to broadcast, narrowcast, podcast or whatever over the Web.

Check out a couple of my favorites at BluegrassCountry.org and WDVX.

Garth Brooks

Some people stood up for Garth, but more agreed with me that he is a musical criminal of the first order. The fact that a very modestly talented musician sold millions of records and became the face of American country music to the entire world got Nashville to follow the same style-over-substance marketing credo of mainstream pop, which has in turn succeeded in selling Shania Twain, Faith Hill, Tim McGraw, Keith Urban and the like as country artists.

Sara Evans and Martina McBride

I took a swipe at the live performances of these two, and I stand by it. They both sounded even worse than they normally do that night. I’m pretty sure that Martina is always a microtone or two flat and I think Sara’s singing is nasal and overwrought. It’s actually hard for me to say things like that about these two ladies, not only because I fancy myself a gentleman, but because I have heard them interviewed and I think that they are both really great people. I just think that their beauty (especially in the case of the stunning Miss Evans) and personality in this post-Garth world has carried them a lot farther than their talent alone.

With all that said, I invite further comment – about this piece and about the music you love and hate - at the LttL mailbox, which I promise to check regularly in 2006.

Comments

[Margaret]

You are a shining light of truth in a world of vapid dribble. Keep on with your well written comments on the CW music scene. Especially like your correct assessment of Dwight Yoakam's talent(s). Few can write the lyrics and compose the music; sing them with gut-wrenching soul; put on a 'show' for his audience; and act in films like Mr. Yoakam does. I suspect that many of today's 'stars' have enough trouble just finding the key of G.

[David Oatney]

Aaron;
You are right about Brooks' success dictating the subsequent style-over-substance "Murder On Music Row" mentality that has gripped Nashville.

It bears noting, though, that it may not have happened if Barth hadn't taken off...So I am forced to ask: Is it all Barth's fault, or does his success (and the subsequent de-Southernization of Country) say as much about the growing blandness of the American musical mind as it does about Barth's bad effects on the genre?

[Scott]

Aaron, you are so wrong about your point on contemporary radio. XM Satellite Radio is precisely the solution for the dead dog that is terrestrial radio.

I think the reason you miss so big on this point is the failure to realize what can be magic about radio. #1. Just tuning in and hearing the right song at the right time resulting in a perfect moment. Sure, I have "American Girl" on CD, MP3, and cassette, but getting in the car and turning on the stereo to hear that opening riff while driving on a summer night with the windows down WITHOUT expecting it is what makes it great. #2 Exposure to good new music is presented best by a liked and trusted deejay. This is anithesis of personalized playlists and the like.

XM does precisely what made terrestrial radio great they have real talent behind the microphone Kyle Cantrell PD and Deejay on XM's Bluegrass station to Martin Goldsmith (formerly the host of NPR’s Performance Today) and Jonathan Schwartz (WNEW’s Frank Sinatra guru and American songbook expert).

Further, your comments about more subscribers driving content to the middle is off base. Look at the model for satellite radio, cable television. With more views we see more choices not less. XM has over 160 channels. I know you believe as I do, that we are in a golden age of T.V. right now. The amount of channels in the cable spectrum combined with the viewership has spawned this age. The same will be/is true for satellite radio.

My final argument for you - Dylan just signed to do a weekly show on XM.