Taylor Swift – Page 19 – Country Universe

2009's Remaining Release Schedule Comes into Focus

July 8, 2009 Kevin John Coyne 41

Thus far, 2009’s releases have done little to fire up the charts, with most of this year’s strongest-selling albums being holdovers from 2008. While Rascal Flatts, Jason Aldean, and Keith Urban have sold strongly, the chart remains dominated by last year’s releases from Taylor Swift, Sugarland, Zac Brown Band, Lady Antebellum, Darius Rucker, and Jamey Johnson.

So what’s left for 2009? Here’s what we know so far:

New Releases

Carrie Underwood will release her third studio album on November 3, with a lead single going to radio this fall. Her previous set, Carnival Ride, is nearing sales of 3 million, and produced four #1 singles and a #2 single, all five of which were certified gold in their own right.
George Strait will release Twang on August 11. It’s the follow-up to his 33rd platinum album Troubadour, a set which produced his 43rd #1 single and earned him the first Grammy of his career, along with a pair of CMA trophies (Single and Album)
Miranda Lambert is readying Revolution for September 29. Lead single “Dead Flowers” is struggling at radio, but that’s never slowed her down at retail anyway.
Reba McEntire’s Valory debut Keep on Lovin’ You arrives August 18. Lead single “Strange” is approaching the top ten.
Willie Nelson releases another standards collection called American Classic on August 25.
Brooks & Dunn’s new studio album streets on September 8, preceded by lead single “Indian Summer.” The duo’s previous set, Cowboy Town, was their first to fall short of gold certification.

Traditional Country is a Link in a Long Chain

June 30, 2009 Guest Contributor 23

The following is a guest contribution from Scott O’Brien.

“But someone killed tradition. And for that someone should hang.” –Larry Cordle & Larry Shell, “Murder on Music Row”

Dan Milliken’s recent post got me thinking: The country music I grew up with is nothing like the music on country radio today. If I turned on today’s country radio in 1988, I might not realize it was a country station and keep right on flipping. Back then, Randy Travis and Keith Whitley’s traditional twang ruled the airwaves. Today, they are dominated by the giggly teeny-bopper ditties of Taylor Swift and the boy band sounds of Rascal Flatts. Did they get away with murder on music row? Well, let’s start by briefly uncovering country’s traditional roots.

What is traditional country music? Is it simply anything from the past? That seems too broad; Shania Twain wasn’t traditional. Anything before 1990? Maybe, but that is still a rather wide net. To me, traditional country music is honky-tonk music. It heavily employs steel guitars, fiddles, and forlorn vocals. It moves at a slow pace. There are no drums or electric guitars. The songs typically deal with heavy topics such as heartbreak, cheating, or drinking, with a ballad here and there. In most cases, the goal is to induce pain. Not bad pain, but the therapeutic empathy that tugs your heart and helps you through your personal struggles. The patron saint of traditional country is Hank Williams. Hank’s first disciple is George Jones. Jones’ first disciple is Alan Jackson. The traditional template is supposed to help us decipher what is country and what is not. After all, what makes country music country if not fiddles and cheatin’ songs?

Concert Season: Who Are You Going to See?

May 24, 2009 Guest Contributor 31

I blame Adam Lambert for what I am about to reveal to you all: I’m headed to a Taylor Swift concert tonight. That’s right, Taylor Swift. Insidious curiosity got the better of me.

But why do I blame Lambert, you ask? Because I haven’t been listening to a whole lot of country music recently. Instead, thanks to my new, bizarre obsession with Lambert, in the past month I’ve pulled out old Queen, Bowie, Michael Jackson and Led Zeppelin. And I’ve listened to more My Chemical Romance, Pink and even Def Leppard than anything resembling country. So, of course I thought of Swift. Because, when you think of hard rock, isn’t Swift the first person who comes to mind?

Album Sales Update

May 23, 2009 Kevin John Coyne 20

2009

* Rascal Flatts, Unstoppable – 669,000
* Keith Urban, Defying Gravity – 349,000
* Jason Aldean, Wide Open – 241,000
* Dierks Bentley, Feel That Fire – 189,000
* Martina McBride, Shine – 89,000
* John Rich, Son of a Preacher Man – 89,000
* Rodney Atkins, It’s America – 72,000
* Jake Owen, Easy Does It – 70,000
* Eric Church, Carolina – 66,000
* Randy Travis, I Told You So: Ultimate Hits – 59,000
* Randy Rogers Band, Randy Rogers Band – 57,000
* Pat Green, What I’m For – 54,000
* Willie Nelson & Asleep at the Wheel, Willie & The Wheel – 50,000
* Billy Ray Cyrus, Back to Tennessee – 29,000
* Jason Michael Carroll, Growing Up is Getting Old – 26,000
* Dean Brody, Dean Brody – 5,000

Taylor Swift, "The Best Day"

May 19, 2009 Tara Seetharam 15

Oh, the irony of this review. The self-appointed Taylor Swift detractor is assigned the one and only song in Swift’s catalogue that moves her to tears. I think that’s what they call karma?

In all seriousness, “The Best Day” is a beautiful, curious illustration of the artist underneath the pop star that is Taylor Swift. Honest and youthfully elegant, it’s not the kind of song that shot Swift to superstardom, but it may just be the kind of song that perpetuates her career after the hype of teen angst and pop-remixes subsides.

Joey + Rory + Taylor = Video Gold

May 5, 2009 Dan Milliken 7

No formal post cooked up here; I just wanted to thank these artists for bringing mainstream country some much-needed personality. Joey + Rory, “Play The Song” I've started having my doubts about the strength of

Taylor Swift, "You Belong With Me"

April 19, 2009 Dan Milliken 31

Probably the trickiest part of being a big country music fan right now is explaining to people why I don’t hate Taylor Swift. It’s certainly easy to see why I would. On the surface, Swift seems an impossible sell for any country classicist: she writes bubbly pop-rock, she never seems to sing well live, her whole spiel is basically the epitome of teenybop. Depending on how much those qualities bother you, it can be very hard to avoid judging the entire Taylor Swift book by its cover (or in this case, totally rad t-shirt + fan-mosaic OMG!).

But to dismiss Swift’s art because of her trimmings is to ignore just how good that art is at doing what it sets out to do. Yes, “You Belong to Me” finds Swift writing about a high school crush, and no, it isn’t country, even if it is (quite wrongly) being shipped to country radio. These issues may clash strongly with some personal tastes and desires for the mainstream country climate – they do mine, at least. But do they make this, on its own, bad music?

I certainly don’t think so. If anything, I think this works because Swift sounds fully invested in her youthful perspective and poppy approach. The lyrics here sound directly ripped from the cute pink diary (or LiveJournal) of a self-conscious girl unsure of how else to express herself. The melody, perhaps her catchiest yet, surges with the somewhat melodramatic intensity you’d expect from a young person experiencing his or her first big heartache. Even Swift’s girly, gaspy vocal stylings sound fully in service of the particular song she’s singing, the particular character she’s portraying.

Kate & Kacey, “Dreaming Love”

April 17, 2009 Guest Contributor 3

“Love, love, love, love…” crazy love? Unfortunately, no. There is a brief moment at the beginning of “Dreaming Love” where you think Kate & Kacey might break into Van Morrison’s “Crazy Love.” But no, we’re not that fortunate.

Kate & Kacey do have some songwriting chops. In fact, they have a co-write with Jamey Johnson coming out on George Strait’s upcoming album. However, “Dreaming Love” is not a shimmering display of those abilities. Overall, the song is plagued with a pretty but forgettable tune (slightly reminiscent in parts of Heidi Newfield’s “Johnny and June”), decidedly unmemorable vocals and unimaginative lyrics expounding on that n’er-written-about subject, love.

ACM Winners and Live Blog

April 5, 2009 Kevin John Coyne 368

WINNERS:

ENTERTAINER: Carrie Underwood

ALBUM: Taylor Swift, Fearless

SINGLE: “You’re Gonna Miss This” – Trace Adkins

FEMALE VOCALIST: Carrie Underwood

MALE VOCALIST: Brad Paisley

VOCAL DUO: Sugarland

Lee Ann Womack, “Solitary Thinkin'”

April 5, 2009 Dan Milliken 8

One of the saddest things about the infamous “soccer mom soundtrack” mentality driving Music Row – whereby most singles are picked specifically because they require no real cognitive processing on your drive home from work – is how it scares most artists away from attempting any stylistic variety.

Thank goodness Lee Ann Womack is not one of them. In an era where “Stay” and “More Like Her” are considered risky radio releases simply for being un-chipper acoustic ballads that aren’t by Taylor Swift or a dude, Womack has gone ahead and picked a slow-burning lounge number about holing up in a bar and feeling sorry for yourself. Atta girl.

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