The pop music world is still buzzing over last week’s release of 1989: Not Taylor Swift’s pop-cultural juggernaut, but alt-country singer-songwriter Ryan Adams’ cover album of 1989 “in the style of The Smiths.” A quick review of the iTunes comments on Adams’ version of 1989 reveals that a not insubstantial portion of Swift’s fanbase hasn’t gotten a handle on his angle or his appeal, while the mainstream music press is agog over Adams’ guile and audacity.
I was listening in the car today to a track from the Caitlin Cary and Thad Cockrell album Begonias. It’s a winding, bittersweet epic that clocks in at over seven minutes. The title? “Conversations About a Friend (Who’s in Love with Katie).” It captures the content and mood of the song, rather than just taking a line from the chorus and making it the title. Though I can name countless pop and rock songs like that, I couldn’t think of too many country examples of this. There’s Emmylou Harris’ “Prayer in Open D”, which is as evocative a title as it is a song. Rosanne Cash’s “Blue Moon with Heartache” was actually a #1 hit despite its mysterious title, which captures the muddled, melancholy moodiness of the track. Then there’s my ring tone for a good two years, Dixie Chicks’ “Lubbock or Leave It.” Since it’s the only upbeat selection Read More