The theme for this week’s Sunday Selections post is, “What year do you think it is?” One of the week’s few new releases has garish cover art that looks like something from the late 90s, while a host of writers made outdated and inexplicable references to “bro country” as a primary talking point in country music in 2015, which is simply wrong on merit. In the week’s more successful throwback efforts, Ashley Monroe, Chris Stapleton, Kacey Musgraves, and Tami Neilson all shared some old school cover tunes, and Netflix doubled-down on nostalgia with a promo video for an upcoming original series. Onward!
Anyone who reads Bob Lefsetz’ “The Lefsetz Letter” knows that Lefsetz is a fairly new country music fan, but a passionate one all the same. I frequently disagree with his current assessment of country music, particularly country radio (although recently he has clued in to its frequent vapidness and monotony), but he’s a fantastic voice out there championing country music.
In a recent letter, he made some interesting statements about his desired role for the future of country music (i.e. the classic rock of the future). After approvingly citing the recent Newsweek article which bemoaned the current state of country music, Lefsetz stated:
Country used to have an edge. My buddy Pete Anderson would love to bring it back. But I’m thinking we’ve just got to move the needle a little bit, and suddenly we’ve got the rock business we used to have, the one that triumphed in the seventies.
A decade into a middle-management career, Montgomery Gentry scored back-to-back No.1 singles last year, “Back When I Knew It All” and “Roll with Me,” a testament to their enduring popularity with radio programmers nationwide. However, sales of their current album (Back When I Knew It All) are tepid at best, with only 150,000 copies sold since the disc’s debut last June. The duo has slipped into the trap of many acts who presently dominate the airwaves. Their radio releases serve as the perfect companion on evening commutes, but they don’t boil the blood of the potential recordbuyer. “One in Every Crowd” (no relation to the flaccid 1975 Eric Clapton album) is another standard-issue story of the party boy who sets the good-timin’ tone every Friday night. The usual ingredients are here—a six-pack, a pissed-off barkeep, a rowdy house band—for a honky-tonk tonic. As a (worn-out) reference to their hillbilly heroes, the boys toss off mentions of “Free Read More