
100 Greatest Men: #85. Marty Stuart
100 Greatest Men: The Complete List
He enjoyed a brief period of radio success, but Stuart’s legacy was cemented when he left the commercialism behind and embraced the country concept album.
100 Greatest Men: The Complete List
He enjoyed a brief period of radio success, but Stuart’s legacy was cemented when he left the commercialism behind and embraced the country concept album.
100 Greatest Men: The Complete List
They’ve been around in various incarnations for more than four decades, but the common thread has always been a deep respect for, and desire to preserve, the history of country music.
Lady Antebellum
Own the Night
Lady Antebellum’s “Need You Now” is a once in a career kind of hit. That drunk-dialer ballad became a such a huge cross-genre smash hit that is was virtually inescapable no matter which radio format you tuned into. The Grammy-winning hit pushed Lady Antebellum to instant add status on country radio, which is where they stayed even as their single releases gradually slid downhill in quality.
The downward slide continues on the trio’s third album Own the Night – an uninspired effort that savors strongly of an act coasting along on their superstar status, while resting on their laurels artistically. One could present the easy-out criticism that the album is not country, and indeed it makes little effort to sonically resemble country, but the real issue is not simply that these are pop songs. The issue is that, pop or country, they’re just flat-out not good songs.
The terrorist attacks on American soil ten years ago changed the course of our nation’s history in far more significant ways than just its impact on country music.
But the fact is that country music was changed as well. Here are the four biggest ways that it did, for better and for worse.
1. Alan Jackson Becomes a Legend
He was still getting solid radio airplay and record sales in 2001, but it seemed like his glory days were behind him. Then, he stepped on to the CMA Awards stage and debuted “Where Were You (When the World Stopped Turning)” to a stunned industry crowd on national television.
Although I might append a “-ly Cool” to that “Ridiculous” depending on the day you asked me.
But yeah, let’s talk about this. She’s playing up her primary marketing persona to such an extreme as to make its artifice glaringly, even amusingly obvious. In a way, that doesn’t bug me – it’s not like any of us ever actually believed her to be a vengeful pyro/ex-girlfriend/abuse victim.
It’s always interesting to see how music industry awards reflect (or don’t reflect) larger narratives in the industry itself.
If you’re interested in the narratives behind this year’s CMAs, look no further than the two men who’ve made the biggest strides on the ballot: Blake Shelton and Jason Aldean. Both show up in Entertainer and Male Vocalist, plus Album and Single, plus assorted other stuff. But the marketing approaches that have gotten them there are vastly different.
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