Lee Brice’s new release is a song that sets a casual conversation to music. Woman asks husband, “Honey, what would you do if you’d never met me?”
Answer: “I’d do a lot more offshore fishin’ / I’d probably eat more drive-thru chicken / Take a few strokes off my golf game / If I’d have never known your name / I’d still be driving that old green ‘Nova / I probably never would have heard of yoga / Be a better football fan / But if I was a single man / Alone and out there on the loose / I’d be looking for a woman like you.”
I’m digging the sound of this record. I particularly appreciate the restrained, acoustic-based arrangement. As another significant plus, Lee gives a low-key vocal delivery that works well with the conversational tone of the lyric, while also making for a nice change of pace from the more theatrical vocal performances heard on some of his previous singles.
But my problem here is that I have a hard time seeing why this guy answers his wife’s question by going into all of the hobbies and pastimes he enjoyed as a single man (and would still be enjoying had he not met his woman), only to jolt back to his life of domestic bliss, saying that he’d be all alone and “looking for a woman like you.” That latter development feels gratuitous and underdeveloped, fitting in awkwardly with the rest of the chorus.
The bridge ties things together to some extent, explaining that he plays a lousy golf game, his wife makes the best friend chicken, he loves the sound of her name, et cetera. But the problem remains that the song spends too much time focusing on little inanities.
It’s a very pretty-sounding tune, to be sure, but the lyrics just don’t quite add up. In most cases, my current
mood will probably determine whether I think the strength of the performance offsets the general disjointedness of the lyrics.
Written by Jon Stone, Phil Barton, and Johnny Bulford
The 11th Annual Country Music Critics’ Poll has just been published by Nashville Scene. It covers the 2010 year of country music. The participants of the poll consists of country music critics who spend their time listening to and analyzing stacks of music throughout the year in order to knowledgeably write about it for the purpose of either promoting excellent music or warning against the not so good stuff. Kevin, Dan and Tara are among these prestigious critics.
Each year, invited critics submit their ballots with their favorite music and artists in the appropriate categories. The poll includes the best albums, singles, male and female artists, reissues, live acts, duos and groups, songwriters, new acts, and the over all artists of the year. While the results include the usual suspects, they are mixed with some surprises or names that aren’t commonly associated with mainstream country.
Some of my favorite results include Raul Malo tied at #8 with Gary Allan for top males and Elizabeth Cook at #2 for top females, not to mention Sunny Sweeney’s “From A Table Away” landing at the #3 spot for singles. The most amusing result, however, is Jamey Johnson and Taylor Swift in the top two spots for songwriters.
What’s most fascinating about this process is that the critics have the opportunity to include comments with their ballots. These comments serve to clarify choices and pontificate on the state of country music and its various aspects. There are some insightful comments from both Dan and Tara, along with other critics that you might recognize from our blog roll.
Here are some of the cream of the crop comments that display a satisfyingly diverse array of perspectives:
“Lost amidst the rush to proclaim Jamey Johnson as the man to reclaim country music from pop acts like Taylor Swift is the fact that Johnson and Swift are cut from the precisely same cloth. Johnson is most often championed for the supposed authenticity of his songwriting, but is it really any more believable that he’s been “takin’ dee-pression pills in the Hollywood hills” than it is that Swift regrets not calling an ex when his birthday passed? Both Johnson and Swift have developed public personae and voices as songwriters that trade in the same suspension of disbelief. Swift’s music may not scan as “country” to the extent that Johnson’s does, but that isn’t because she’s any less authentic than Johnson. They both act like they’re “Playing the Part,” and they both do so awfully well.” —Jonathan Keefe, Slant Magazine
“Thank goodness the Internet and satellite radio are around to pick up FM’s slack, because brilliant would-be singles continue popping up on independent releases that Clear Channel won’t touch. My favorite two this year were Elizabeth Cook’s “El Camino” and Chely Wright’s “Notes to the Coroner.” The former: a hilarious country-rap about a creepy, mulleted lothario. The latter: a frank diary introduction from a recently deceased woman. Both: utterly unique and unshakably catchy.” —Dan Milliken, Country Universe
“In 2010, Grandpa told us about the good old days again. The most conspicuous presence on country radio in recent years has been this kindly old gentleman, lugging his aching bones out of bed to share some worldly wisdom. After years of hard labor and heartache, he’s now embarked on a second career as life coach for his hillbilly kin on recent singles from Lee Brice, Billy Currington, Craig Morgan and Alan Jackson (the matured mentor on Zac Brown’s “As She’s Walking Away”). Of course, country radio won’t fool with women over 40 except for Reba, so you never really get to hear Grandma’s side of things.” —Blake Boldt, The 9513
“Despite their two weak singles this year, “Our Kind of Love” and “Hello World,” I remain in Lady Antebellum’s corner. What hooks me is the way they’re able to inject gritty, tangible emotion into the glossiest of production and the vaguest of lyrics. That’s what elevates “Need You Now” to an aching confession, and that’s how, on a song that compares innocence to a condiment, Hillary Scott’s vocal performance alone manages to tell an evocative story.” —Tara Seetharam, Country Universe
“So if country music is doing so well artistically, why is it that whenever I turned on the radio in 2010, I heard mostly pop or rock songs with a token steel guitar thrown into the mix? I’ve long since given up hope of Americana artists ever getting picked up by mainstream radio, and I’ve pretty much come to terms with the fact that Jamey Johnson won’t be getting many (if any) hit songs no matter how good they are. But would it kill them to play some non-hyphenated country music a little more? I know that country-pop and country-rock are the flavors of the month, but where does that leave more traditional artists? I know I’d be more willing to tolerate Jason Aldean rapping or Jennifer Nettles singing with her stupid fake Jamaican accent if “Draw Me a Map” or “Will I Always Be This Way” was next on the playlist.” —Sam Gazdziak, The 9513
“In an August interview with Spinner, Ryan Bingham rejected the notion that he makes country music. Two weeks later, Bingham was named the Americana Music Association’s “Artist of the Year,” thanks in large part to his Academy Award-winning song “The Weary Kind,” a song he wrote for a movie about a country singer. In September, when asked about the state of country music today, rising star Justin Townes Earle told The Wall Street Journal that he’s embarrassed to be from Nashville because of the “shit songwriting, shit records and shit singers who are making a million dollars.” Even mainstream country stalwart Zac Brown distanced himself from the genre, telling American Songwriter in September, “The songs that I write are Southern, but I wouldn’t necessarily call them country.” It’s a shame — and an enormous loss for the genre — that the term “country music” has come to describe something so narrow that bright young artists like these choose not to identify themselves as country. Thank God for Jamey Johnson, who wears the mantle proudly.” —Jim Malec, American Twang
Radio has never been my primary way of receiving country music. Growing up in NYC, we had a decent country station in 103.5 WYNY. But 24-hour CMT was better, back in the days when it played everything from the hot new artists to the legends to Canadian imports in roughly equal rotation. By the time that the station folded, I was heading to Nashville and attending college. By the time I was back to NYC, the internet had replaced the video outlets as my preferred method of discovering new music.
But radio is the way most country fans have discovered new music for generations now. So why not give it another try? Normally, I wouldn’t, but as we began an overnight drive up the east coast, I was growing weary of the easy listening station that was on. Air Supply will do that to you. So I went up to the next station, and the radio displayed that it was a country station.
The sound, however, was virtually identical to the seventies and eighties light rock I’d been listening to already. By the chorus, I was able to discern that what I mistook for a lesser Gordon Lightfoot was actually Zac Brown Band. “Highway 20 Ride” was the song. Not bad, but kind of faceless and generic in that Seventies Gold way.
Things went downhill quickly. The next record was that Steve Holy hit “Brand New Girlfriend”, which sounds just as clever now as it did back then. Interpret that as you will. Then Eric Church sang about a girl who was “Hell on the Heart”, and Lee Brice screamed about some people who chose to “Love Like Crazy.”
Finally, an artist that I liked came on. Tim McGraw. Singing “One two three, like a bird I sing,” the start of his worst post-Everywhere single, “Last Dollar (Fly Away).” Suddenly, a feature that had begun as “An Hour With Country Radio” became “one more bad song and I’m plugging in the iPod.”
Then I heard the gentle intro to Alan Jackson’s “Remember When.” I actually do like country music, I’m reminded. And I can hear this song and more on my iPod. Cutting my losses before Taylor Swift or Danny Gokey surfaced, I said a quiet thank you to Steve Jobs and switched from FM to AUX.
/uploads/2010/06/Screen-shot-2010-06-03-at-7.22.16-PM.png” alt=”” width=”173″ height=”220″ />I guess I like the origin of this song, which has a modern narrator marveling at how an elderly couple has actually managed to endure their whole lives together. It’s a nice little bit of social commentary.
But wouldn’t you know it, the thing quickly devolves into just another “how to live your life” chorus, like “Help Somebody”/”Don’t Blink”/”Voices”/”You’re Gonna Miss This” all over again. Seriously, when did mainstream country become all about old people rattling off sound bites at young people?
On the other hand, I guess the song must actually have some good advice, since the second verse talks about how the young version of the Wise Old Man fearlessly embraced retail technology and was financially rewarded for it by Microsoft, all because he was a best friend and told the truth and loved like crazy…wait, what?
At only twenty-three years old, Adam Gregory has been performing for ten years in his native Canada. After arriving in Nashville in 2007, he signed a recording contract with Midas Records, who then reformed last year under indie powerhouse Big Machine Records. Earlier this year, Gregory reached the Top 40 with his first single, “Crazy Days,” and last month he released his second single, “What It Takes.” His yet-untitled debut album in the United States is slated for release in Spring 2009. Gregory called Country Universe earlier this week to provide a glimpse into the life and career of the Nashville newcomer.
Who is Adam Gregory as an artist? And which artists have inspired this direction?
I consider myself as just a guy who sticks to his roots and follows his own path and tries to find meaning in every song. I’ve co-written a lot of songs on the album, so I hope to put my own imprint and give it that extra attention because it’s coming from me and who I am. We think it’s a refreshing sound. We have something new to offer. It’s not a country twang. It’s more of a modern-day sounding music. But I grew up listening to Vince Gill. He’s such a great singer, and so humble. And of course, Garth Brooks and George Strait. He (Strait) has maintained a personal life and family and still had a great career. That’s what I aspire to do.
Lee Brice’s second single is leaps better than his first. “Happy Endings” finds a man in Myrtle Beach watching his woman walk out on him. She’s hopping in the car and driving to California. He’s not thinking she’s coming back, but hey, it’s a long drive and maybe she’ll get to missing him. After all, “Happy endings happen all the time.” But his sad, matter-of-fact delivery suggests he’s resigned to the fact that there won’t be one this time.