Joey Feek is not a woman to be trifled with. Blow off a day with her to go fishing with your buddies, and be prepared for a holdout that would make the recent NBA lockout look like a bathroom break. Along with a steel guitar-centric, pure country sound, the song’s humor doesn’t wear thin after repeated listenings. (Are you paying attention, Brad “Camouflage” Paisley?) – Sam Gazdziak
Sweeney showed her vulnerable side with “From a Table Away” and “Staying’s Worse Than Leaving,” but here she reminds us that she still knows how to cut loose and have a good time. With “Drink Myself Single” Sweeney delivers an up-tempo track that’s rowdy and fun, with a jaunty electric-guitar-meets-steel-guitar arrangement.
Better yet, she does it without sacrificing lyrical intelligence, and even gets through the whole thing without having to resort to the crutch of citing ‘Ol’ Hank.’ With a seething undercurrent of hurt and anger echoing George Jones’ “Why Baby Why,” “Single” shows an artist with one foot grounded in country music’s storied past, but also with an eye toward the future. – Ben Foster
#18
Mary Was the Marrying Kind
Kip Moore
Individual Rankings: #4 – Kevin; #9 – Dan
A song that manages to characterize eight different girls more believably than a lot of songs characterize one. As the narrator runs through his rocky dating history, you get why he wasn’t conditioned to appreciate Mary when they met, and you mourn with him now that he’s learned to too late. – Dan Milliken
#17
Paper Airplane
Alison Krauss & Union Station
Individual Rankings: #2 – Dan; #10 – Ben
The quiet melancholy of Krauss and Robert Lee Castleman’s previous collaborations seems to come to a crescendo. “Here all alone and still wondering why,” Krauss sings in the soaring chorus, with yet another relationship crumbling around her. She’s resigned to a cycle of build-up and letdown, as lovers’ feelings and her own toss senselessly about. – Dan Milliken
The sassy “Teenage Daughters” was a refreshing departure from the inspirational songs and rangy vocal performances that we’ve become accustomed to hearing from Martina McBride by now. Instead, with restrained vocals rife with personality, McBride slyly offers a realistic take on the frustrations of raising teenage daughters with honesty and without sap. More of that please, Martina! – Leeann Ward
#15
Home
Dierks Bentley
Individual Rankings: #2 – Sam; #5 – Leeann
“Home” sounds like a pretty love song. And it is. it’s an emotional love song to America from a respectful Dierks Bentley. As the best love songs tend to go, it realistically acknowledges ups and downs while ultimately declaring the strength of the ties that bind. Best of all, not only is it a love song to America, it manages to be patriotic without the jingoism or chest thumping that has all too often pervades patriotic songs in the last decade. – Leeann Ward
#14
Another Like You
Hayes Carll with Bonnie Whitmore
Individual Rankings: #1- Sam; #6 – Leeann
A heated political discussion between a diehard conservative and a bleeding-heart liberal turns into a drunken makeout session in an elevator. If more political discussions in this country ended that way, there would be a heck of a lot more being accomplished in Washington. – Sam Gazdziak
Sunny Sweeney just gets the economy of the best country songwriting: There’s nothing flashy about the opening lines of “Staying’s Worse Than Leaving,” but the weariness in her delivery of a simple aside (“Trust me, it’s really bad”) tells her character’s back-story in just a scant few words and gives her on-the-verge narrative real emotional heft. – Jonathan Keefe
As a portrait of the post-breakup healing process, Evans’ surprise comeback hit is striking in its simplicity, but nonetheless disarmingly effective. Simple vignettes of going through your daily routines with a smile on your face, changing the station when a song reminds you of your ex, coupled with the refrain of “I got a little bit stronger… just a little bit stronger” beautifully capture the progressive nature of the narrator’s healing journey.
Fittingly, Evans’ vocal begins on a hushed, tired-sounding note, building to a dramatic crescendo as the song progresses – a dynamic, layered performance from one of the finest interpretive singers of her generation. – Ben Foster
She’s heard through the grapevine what she needs to do to get her man back, a laundry list of every compromise under the sun. No wonder she reaches the conclusion that she just doesn’t need him that bad. – Kevin John Coyne
The country music umbrella stretched wider than ever this year, regardless of the fact that radio playlists seem shorter than ever.
Of course, it’s not just the Americana acts that can’t get radio play these days. Even top-selling albums by Scotty McCreery and Alison Krauss & Union Station weren’t embraced.
Country Universe editors and contributors each submitted a list of their ten favorite albums of 2011. 31 different albums were included on our lists, and over the next two days, we’ll share with you our collective top twenty.
Top Twenty Albums of 2011, Part One: #20-#11
#20 Beat the Devil and Carry a Rail
Noam Pikelny
His tenure with the Punch Brothers and his winning of the first annual “Steve Martin Prize for Excellence in Banjo and Bluegrass” in 2010 both earned Noam Pikelny the clout to release Beat the Devil and Carry a Rail, his second solo album and first since 2004. Joined by an all-star roster of fellow pickers, Pikelny’s mostly instrumental set is a showcase both for its lead artist’s extraordinary technical skills and for the banjo’s wide-ranging potential. – Jonathan Keefe
Individual Rankings: Jonathan – #4
Recommended Tracks: “Fish and Bird” featuring Aoife O’Donovan, “Boathouse on the Lullwater,” “My Mother Thinks I’m a Lawyer”
#19 The King is Dead
The Decemberists
The indie favorites take their hyper-literate brand of folk-rock for a rustic spin, achieving new concision in the process. Colin Meloy’s wild narratives and wilder lexical choices sound right at home in these short-and-sweet song designs, and the Americana field is richer for having them. – Dan Milliken
Individual Rankings: Dan – #4
Recommended Tracks: “Don’t Carry It All,” “June Hymn”
#18 Concrete
Sunny Sweeney
That solo women disappeared from country radio was one of 2011′s major talking points within the genre, but Sunny Sweeney’s Concrete provided some of the most compelling evidence that it wasn’t a lack of strong material that kept female artists off radio playlists. Balancing a keen traditionalist bent with a thoroughly modern point-of-view, Sweeney’s fully-drawn characters and clever spins on familiar country tropes proved that an album that sounds “radio friendly” doesn’t have to be light on actual substance or craft. – Jonathan Keefe
Individual Rankings: Ben – #3
Recommended Tracks: “Amy,” “From a Table Away,” “Fall for Me”
#17 It’s Already Tomorrow
Foster and Lloyd
Their first time around, Foster and Lloyd were one of the coolest country acts going, blending in a love of traditional country music with some ’60s post-British Invasion rock vibes. It’s Already Tomorrow, their first album in 20 years, shows an impressive return to form. Radney Foster and Bill Lloyd have released some terrific solo albums, but there is a definite magic that happens when they record as a duo. – Sam Gazdziak
Individual Rankings: Sam – #2
Recommended Tracks: “Picasso’s Mandolin,” “That’s What She Said,” “Can’t Make Love Make Sense”
#16 This is My Blood
The Dirt Drifters
As mainstream country music becomes increasingly slick and polished, it’s a refreshing change to hear something gritty and rough around the edges. The Dirt Drifters’ debut on Warner Bros. certainly qualifies. If you’re looking for country-rock that takes its cue from run-down country roadhouses instead of ’80s arena rock, this album is for you. – Sam Gazdziak
Individual Rankings: Sam – #3; Dan – #10
Recommended Tracks: “Always a Reason,” “Married Men and Motel Rooms,” “Hurt Somebody”
#15 Ghost to a Ghost/Gutter Town
Hank III
Hank III’s entire artistic persona is built on indulging in every type of excess he can think of, so it was hardly a shock when, for his first recordings after a less-than-amicable departure from Curb Records, he dropped four full-length albums of new material on the same day. While not all of his ideas are good ones– the less said about Cattle Callin’, the better– the double-album Ghost to a Ghost / Gutter Town proves that Hank III is driven to his spectacular highs not just by the various recreational drugs circulating through his bloodstream but also by a real fearlessness and creativity and a sense of respect for his bloodline. – Jonathan Keefe
Individual Rankings: Jonathan – #1
Recommended Tracks: “Don’t Ya Wanna,” “Musha’s,” “Dyin’ Day”
#14 Ghost on the Canvas
Glen Campbell
A late-in-life swan song by an icon acutely aware of their own mortality. That’s a fitting description of so many of the best country albums in recent years. This is the best of that subgenre since Porter Wagoner’s Wagonmaster. – Kevin John Coyne
Individual Rankings: Kevin – #5; Dan – #6
Recommended Tracks: “There’s No Me…Without You”, “Ghost on the Canvas”
#13 Chief
Eric Church
On the heels of an album that was largely a hit or miss affair, Church delivers a surprisingly electric third album, marked by its edgy sonic splash. But while its spin on country rock is undeniably enticing –a funky mix of swampy, trippy and punchy—the album’s soul is Church himself, a more believable artist this time around than most of his contemporaries. Because for all its hard ass sentiment, Chief actually walks the walk, as authentic as it is audacious. Outlaw in the making? Probably, but don’t tell Church I said so. – Tara Seetharam
Individual Rankings: Tara – #4; Sam – #6; Leeann – #10; Jonathan – #10
Recommended Tracks: “Hungover & Hard Up,” “Keep On,” “Creepin’”
#12 Long Line of Heartaches
Connie Smith
What more can you ask for? Purely straightforward and unadulterated country songs delivered by the finest vocalist the genre has ever been privileged to call its own. Smith’s own co-writes with husband and producer Marty Stuart (The title track, “I’m Not Blue,” “Pain of a Broken Heart”) sit comfortably alongside top-notch cover material penned by Harlan Howard, Johnny Russell, and Dallas Frazier, all backed by the sweet sounds of fiddle and steel aplenty. Long Line of Heartaches is a beautiful reminder of what country music once was, and could be again. – Ben Foster
Individual Rankings: Ben – #2; Jonathan – #5
Recommended Tracks: “Long Line of Heartaches,” “I’m Not Blue,” “Ain’t You Even Gonna Cry”
#11 Your Money and My Good Looks
Gene Watson and Rhonda Vincent
There was no chance that this collaboration of straight up country songs between Gene Watson and Rhonda Vincent was going to garner any attention from mainstream country music outlets. However, thanks to memorable songs, pure country production and Watson and Vincent reverently following the spirit of classic country duet albums of the past, this project was surely one of the stand out albums of the year. – Leeann Ward
Individual Rankings: Leeann – #2; Ben – #5
Recommended Tracks: “You Could Know as Much from a Stranger,” “My Sweet Love Ain’t Around”
Sunny Sweeney’s 2007 debut album was fantastic, but too raw and twangy for country radio to touch it with a ten-foot pole. Thus, Heartbreaker’s Hall of Fame produced no charting singles. Sweeney re-emerged in 2010 with “From a Table Away,” a single that took on a glossier finish so as to be more radio-friendly. Still, the core country elements were uncompromised. The strategy worked, netting Sunny Sweeney the first Top 10 hit of her career. Likewise, the remainder of her sophomore album has enough polish to be palatable to country radio, but Sweeney’s traditionalist bent remains intact, as the album retains an identifiably country sound throughout (such that the “pop-country” label would be a misnomer). Concrete sounds poised to build on Sunny Sweeney’s newfound career momentum, yet it also finds an artist able to make reasonable commercial concessions without sacrificing her own identity in the process.
Mainstream country music all too often settles for one-dimensional songs about domestic bliss, summer fun, country livin’, you name it. But Sweeney takes us back to the classic themes of country music – cheating, drinking, heartbreak – and puts her own distinct and creative spin on them. This is evident in her breakout hit single “From a Table Away,” which casts Sweeney as the infamous “other woman” character in the love triangle. The song walks us through the narrator’s revelation that the married man she loves has been lying to her as much as he’s lied to his wife, and that the fantasy of having him to herself will never become reality. But it’s the similarly-themed “Amy” that ranks as arguably the album’s best track. In a confrontation between wife and mistress, Sweeney asks for forgiveness for her own actions, but also asks the wife to recognize the own role she herself has played in her husband’s course of adultery. “Amy” is a song characterized by raw, unabashed honesty, and that’s the stuff of a country music classic.
In addition to her smart, punchy songwriting, Sweeney excels in her ability to inject emotion and personality into her song lyrics. That’s evident in the excellent current single “Staying’s Worse Than Leaving,” in which she delivers opening lines “Leaving’s hard/ Trust me, it’s really bad” with the tired, weathered tone of one who’s been there – and she has been there, having drawn on her own divorce as inspiration in her songwriting. Even the most well-constructed lyric can fall flat if the performance doesn’t pop, but Sweeney gives strong, commanding performances that strike all the right emotional chords in the lyrics. Album opener “Drink Myself Single” might not stand out much from any other good-timing country drinking song if delivered by a less-capable vocalist. But Sweeney injects spite and vindictiveness into lines like “I wanna know what it’s like/ To stagger in the house like you do every night/ Sneakin’ in the bed like I don’t know the truth…” thus adding a layer of snark and bitterness to the uptempo honky-tonk tune. Similarly, her anger-ridden delivery of “Helluva Heart” elevates the tell-it-like-it-is “You done me wrong” song a significant degree above the typical kiss-off number.
There are many reasons why die-hard country music fans have grown disillusioned with the format’s current state, with the absence of country instrumentation being one. But the greater loss has been the lack of well-crafted, resonant lyrical material matched with emotionally-connective vocal performances. That’s one of the biggest reasons why country radio has become such a yawn. Country music needs more artists like Sunny Sweeney, and more so now than ever before. Sweeney demonstrates a strong connection to the country music of the past, while also showing that she has plenty to say as an artist herself. If radio holds onto to her, she would present a formidable threat of making the format interesting again. Regardless, Concrete is a rock-solid effort strong enough to withstand more than a few repeated listenings.
This is going to be an unfair criticism, but here it goes.
“Staying’s Worse Than Leaving” is an awesome song. As good as anything I’ve heard lately in terms of lyrics. Mature, realistic, insightful. It’s good stuff.
The production is effective in that “stay out of the way of the song” kind of way, as it is on so many great country records.
It’s so good that it’s something I could imagine a nineties woman singing…which makes Sunny Sweeney’s delivery sound disappointing in comparison.
It’s not that she doesn’t sing it competently. But given that this sounds like something that Patty Loveless, or Pam Tillis, or Trisha Yearwood, or even Sara Evans could’ve knocked out of the park, I can’t help but be just a little disappointed.
So, one of the best songs of the year, without a doubt. But still a little disappointing, for reasons beyond the control of anyone involved.
Written by Jay Clementi, Radney Foster and Sunny Sweeney
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
Greatness comes in twos this year, as ten different artists make dual appearances on this list. Perhaps this demonstrates a greater truth about 2010. Sure, there was some good music, but greatness was concentrated among a smaller group of artists than usual.
As is the annual tradition, we’ll reveal this year’s forty best singles, ten at a time. Check back tomorrow for Part 2.
The Best Singles of 2010, Part 1: #40-#31
#40
Why Wait Rascal Flatts
The Flatts boys return to their roots with this bright, infectious slice of country-pop. Bonus points for keeping both Gary LeVox’s voice and Dann Huff’s production in check. – Tara Seetharam
#39
That’s Important to Me Joey + Rory
So far, Joey+Rory’s calling card has been their ability to exude authenticity through their songs with a naturalness and warmth as convincingly as a certain mother-daughter duo of the eighties, The Judds. Only, unlike the Judds, this partnership’s perceived connection isn’t marred by real accounts of strife and familial discord. Instead, by all accounts, Joey and Rory’s love is as sweet as their musical harmonies suggest. And this song is a nice encapsulation of what makes them who they are as a duo, both in a personal and professional sense. – Leeann Ward
#38
Where Do I Go From You Clay Walker
Walker’s voice has matured so much over the past decade. Thankfully, he still has preserved his playful way with a melody, resulting in records like this that elevate radio fodder into something more than just filler. – Kevin John Coyne
#37
Back to December Taylor Swift
She ran from love “when fear crept into [her] mind,” but fear has long since given way to sorrowful regret. Swift knows there’s probably no reversing her mistake, but gets the grief off her chest anyway, with a chorus that sounds almost as nervous as you’d imagine the real-life plea to. – Dan Milliken
#36
Little Miss Sugarland
My disdain for the duo’s label remains strong, as their lack of quality control let a terrible album reach the marketplace. But kudos to the folks who are picking the singles, as The Incredible Machine must sound like a great piece of work to radio listeners who’ve only heard the album’s two singles. It’s not quite “What it Feels Like For a Girl”, but as modern-day post-feminist explorations of gender go, “Little Miss” is very good. – KC
#35
Pretty Good at Drinkin’ Beer Billy Currington
He ain’t cut out to sing great ballads. He’s not the type to make deep and introspective albums. But he’s pretty good – no, pretty great – at laid back songs like this. – KC
#34
Temporary Home Carrie Underwood
A story of shared humanity, brought to life by Underwood’s spot-on vocal interpretation. This is the first single in her catalog to slice through to the person behind the artist, and the payoff –striking, palpable personal conviction– is rich. – TS
#33
I’m In Keith Urban
In an unusual accomplishment, Keith Urban manages to allow a drum machine to enhance a song rather than destroy it. What’s more, this lively Radney Foster penned celebration of commitment is both infectious and refreshing. When it comes to a new relationship, we don’t know what to expect, so the best choice is to be all in and present. – LW
#32
Pray For You Jaron and The Long Road to Love
If we’re going to bring a college-boy mentality to country music – heck, Hootie’s already in the house anyway – let’s have it be as satisfyingly clever as it is juvenile. – KC
#31
From a Table Away Sunny Sweeney
Seeing the man she loves visibly enthralled by the wife he claims he’s leaving, the man’s mistress finally realizes how badly she’s being used. Sort of like “Stay” with more reserved narration. This is the kind of country single we don’t hear much anymore, with traditional-leaning vocals and production that work only enough to capture the song’s natural pathos, never overcooking things. – DM
Due to lack of mainstream attention, not enough people know about Sunny Sweeney’s debut album, Heartbreaker’s Hall of Fame, which was nothing short of a pure honky tonk delight. Her crisp nasal voice sounds as if it’s only meant to sing country music, which is probably, somehow, underselling her range of talent, but good for the prospect of permanence in the genre nonetheless.
For better or for worse, the first single from her sophomore album, this time produced by Brett Beavers (Dierks Bentley), has a slicker sound than that of her first album. As one can expect from a big name producer, the record is tighter both in instrumentation and vocal performance. Of course, these factors are hardly criticisms, but merely something to become accustomed to as someone who thoroughly enjoyed the looser nature of her more relaxed independent project.
“From A Table Away” is a perfect and interesting concept for a country song. It is from the perspective of “the other woman” who is forced to acknowledge that her lover is still in love with his wife. Gone is the naive fantasy that he will leave his wife as he had been leading her to believe he would. Instead, the scene that she witnesses, from a table away, portrays a loving relationship that she is unable to deny.
As an obvious attempt to aim for mainstream approval, this song is well positioned to reach that goal. It is traditional in sound while still being progressive enough to not completely stick out like a sore thumb on mainstream radio’s playlist. Moreover, Sweeney’s raw performance turns a decent song into something quite good.
Even with some of the compromises, it would be nice to hear a talent like the traditional leaning Sweeney on the radio. What’s more, with a song like this, we likely will.
Written by Bob DiPiero, Karyn Rochelle & Sunny Sweeney
Stuck in my car stereo over the last couple of weeks has been a CD loaded with tunes from some of my favorite Texas-affiliated artists. I’m a big fan of the singer-songwriter, old school and raggedy rock styles of country music, and Texas excels at all three. So any time I need a break from the current “Nashville sound,” I like to check in with Texas and see what they’re up to. Invariably, it’s more colorful and interesting.
I can’ t call myself an expert on Texas country by any stretch of the imagination and my education is nowhere remotely near complete (hint: feel free to recommend), but I do sense that it’s a style of music, or perhaps a musical sensibility, that is extremely important to maintain. Texas artists exude a certain spirit of creativity and sense of individuality that is sorely lacking elsewhere in country music. And in my opinion, great music and great artists only flourish in settings where both of those are encouraged.
Here’s a sampling of the songs I’m currently listening to:
“Dallas,” Jimmie Dale Gilmore
“Snowin’ on Raton,” Townes Van Zandt
“West Texas Waltz,” Joe Ely
“Greenville,” Lucinda Williams
“Tortured Tangled Hearts,” Dixie Chicks
“Transcendental Blues (Live in Austin),” Steve Earle
“Blue Eyes Crying in the Rain,” Willie Nelson
“Treat Me Like a Saturday Night,” The Flatlanders
“Bourbon Legend,” Jason Boland & The Stragglers
“Jesus Was a Capricorn,” Kris Kristofferson
“Angry All The Time,” Bruce Robison & Kelly Willis
“What I Deserve,” Kelly Willis
“Old Five and Dimers,” Billie Joe Shaver
“Heartbreaker’s Hall of Fame,” Sunny Sweeney
“Only Daddy That’ll Walk the Line,” Waylon Jennings
What are some of your favorite Texas country tunes?
Widely acclaimed as one of country music’s greatest warriors, Marty Stuart turned a childhood obsession into a lifelong career filled with hit records and collaborations with numerous Nashville legends. A member of the Country Music Foundation and the Grand Ole Opry, he’s preserved the traditions of the genre by assembling a collection of country-related artifacts that has no rival. His most recent project is The Marty Stuart Show, a weekly television program airing Saturday nights on RFD-TV. Stuart discusses the development of the show, his thoughts on the future of country music and his role in honoring its past.
What was the single driving force behind creating The Marty Stuart Show? What are your hopes for the future of the program?
The most important thing was the right setting, the channel, RFD (a Nashville-based television station focused on rural America programming). I’m a big fan of the network and I’ve watched it grow. As a country music fan, I loved those old syndicated shows—The Porter Wagoner Show, The Johnny Cash Show, The Flatt & Scruggs Show, The Wilburn Brothers Show. I loved the spirit of those shows and started talking to Patrick (Carr, Stuart’s biographer) and really wanted to develop this idea. There was nothing like it on television at the time. Traditional country has so few outlets now. I wanted to give it a voice and show the integrity and entertainment value. You know, you have your Kenny Chesneys and Taylor Swifts, and they’re great for the genre, but this is the absolute other end of the country universe, the real traditional stuff. I’m just trying to present country music as a part of American culture, our heritage.
#16
Stuck in my car stereo over the last couple of weeks has been a CD loaded with tunes from some of my favorite Texas-affiliated artists. I’m a big fan of the singer-songwriter, old school and raggedy rock styles of country music, and Texas excels at all three. So any time I need a break from the current “Nashville sound,” I like to check in with Texas and see what they’re up to. Invariably, it’s more colorful and interesting.
Widely acclaimed as one of country music’s greatest warriors, Marty Stuart turned a childhood obsession into a lifelong career filled with hit records and collaborations with numerous Nashville legends. A member of the Country Music Foundation and the Grand Ole Opry, he’s preserved the traditions of the genre by assembling a collection of country-related artifacts that has no rival. His most recent project is The Marty Stuart Show, a weekly television program airing Saturday nights on RFD-TV. Stuart discusses the development of the show, his thoughts on the future of country music and his role in honoring its past.
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